Every Friday, Atwood Magazine’s staff share what they’ve been listening to that week – a song, an album, an artist – whatever’s been having an impact on them, in the moment.
This week’s weekly roundup features music by Doechii, Naesia, Arcy Drive, Thomas Thomas, Lily Talmers, Midwife, Karley Scott Collins, LYRA, The Froot, O’Phantom, Azul Kechi, Alexia Faith, Kameron Marlowe, Buboy, Blue Capricorn, Jaidson, PANIK FLOWER, and Siblings!
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follow WEEKLY ROUNDUP on Spotify
:: “Nosebleeds” – Doechii ::
Brian Denney, Los Angeles, CA
On Sunday night, Doechii collected the Grammy award for Best Rap Album for her masterful mixtape Alligator Bites Never Heal – making history as only the third woman to ever win the category since it was introduced in 1995. While she tearfully accepted her award, her victory lap had already begun.
Immediately after the Grammy Awards, Doechii dropped “Nosebleeds,” an instantly iconic, blatantly arrogant, hype track declaring her place as rap’s queen of candor – riffing line after line about how you’ll never know what would happen if she lost, because of course – she didn’t.
Stepped out the swamp to the stage
Cut my mic off ’cause I’m ’bout to misbehave
“Will she ever lose?”
Man, I guess we’ll never know
“Will she lose hеr cool?”
I guess we’ll never —
I hopped out the swamp, gave the bitch props
Doechii, where you been?
“Doechii went pop”
“Will she ever lose?”
Man, I guess we’ll never know
“Will she lose her cool?”
I guess we’ll never —
“Nosebleeds” is more than just a statement – it’s a hit. Starting off with Doechii’s signature melodic gasps for breath, the track builds and builds with high energy and catchy lyrics until the song tapers off over an unexpected pop outro. It’s a perfect record, of a star owning her moment and her place in history, while simultaneously reminding you that this is just the beginning.
:: Indecisive – Naesia ::
Danielle Holian, Galway, Ireland
Naesia’s debut EP Indecisive is a mesmerizing debut that feels like a late-night conversation with your deepest thoughts – warm, intimate, and impossible to ignore. At just 25, the German-born, London-based singer, songwriter, and producer carves out her own lane with a sound that seamlessly blends Trap, Neo-Soul, R&B, and Hip-Hop. Her sultry beats and introspective lyricism don’t just make for easy listening; they pull you into a world of emotional push-and-pull, where love, self-discovery, and uncertainty collide. Whether it’s the hypnotic pull of “Mr. Mysterious” or the golden-hour glow of “Golden,” Naesia masterfully balances vulnerability with an undeniable groove.
The standout moment arrives in “Indecisive (Interlude)”, where she strips everything back, inviting listeners into a space of reflection and raw emotion. It’s a perfect pause before the lush, passion-filled ride of “Take Me High”, a track that sways between longing and ecstasy. With this four-track journey, Naesia isn’t just showcasing her versatility—she’s redefining what it means to be an independent artist in the modern music landscape. “Indecisive” serves as a statement of intent, proving that Naesia’s artistry is one to watch. Stream it now, and let her sound wrap around you like a familiar, yet thrilling, embrace.
:: “Oak Tree (Daydream)” – Arcy Drive ::
Mitch Mosk, Beacon, New York
Somewhere along the line, the so-called ‘Information Age’ evolved into an age of information overload. The constant access to everything, everywhere, all the time, combined with nonstop notifications, inevitably fried all of our brains, destroyed our attention spans, and made life, on the whole, more toxic and less enjoyable.
But all hope is not lost, and I’m a firm believer that art can save us – especially music, and especially songs like “Oak Tree (Daydream).” Arcy Drive’s first single of the year is a smile-inducing folk rock reverie basking in warm light. It’s three minutes of sonic sunshine – an acoustic jamboree embracing life’s simple pleasures and reminding us that true joy and satisfaction won’t come from any doomscroll, but they might just come from logging off, going outside, and touching grass.
Told my feet, I’m sitting by the big oak tree
Cardinal’s, jay’s all singing for the yellow bee’s
Sitting by the big oak tree,
yelling ollie oxen free
The red swing chair they’re saying it’ll never break
I know I don’t ever want to leave this place
Dreaming of the big oak tree,
and yelling ollie oxen free
So high I feel I think like I’m grounded
Sun shines light, moves life, surrounded
So take me higher and higher
“‘Daydream,’ ‘Oak Tree,’ whatever you want to call it is by far the weirdest song Arcy Drive has made together to date,” Nick Mateyunas tells Atwood Magazine. “The song has taken such a journey in its time and has connected me with people I never thought in my wildest dreams I would meet or see again. I wrote the song in Buffalo, in my grandpa’s backyard where I spent most of my best childhood memories with my brother, sisters, and cousins. I was on a trip alone visiting my grandpa for his birthday. During the slow days I would sit outside in the sun looking around reflecting on all those green years that seemed to be gone. I felt my youth slip a bit on that trip to Buffalo.”
“I honestly didn’t think much of the song, but for some reason it was the first one the band pulled out of me when we went to write together this last winter. We all sat around by the piano and jammed the tune, and in the spur of the moment I started singing, ‘What a day for a daydream’ over a new section. I knew what I was doing, but for some reason those words felt so right for the song and that moment in time.”
Someday I’ll go back to
playing children’s games
I’ll take my kid to cardinals
and the yellow days
I’ll take him to the big oak tree
and teach him ollie oxen free
What he’s talking about and we’re hearing – what Mateyunas and his bandmates experienced in writing and recording this song – is authentic cathartic release. It’s the acknowledgement that times are always changing, but we don’t have to lose ourselves within the chaos of that change; we have the ability to ‘opt out’ and chase that ever-elusive bliss.
“‘Oak Tree’ is a dreamy song,” Mateyunas adds. “When I sing it I can feel my childhood and picture my future… It was the first time as a band that I felt like we achieved something great. When I heard one line in the song, it made me think of my grandma, and that mixed with everything all at once was too much to handle – I had to leave the studio because I felt myself breaking up… I’ve never felt so weightless in real time. The sun had such a unique light to it, like how you would picture it in an old memory when it’s all hazy. I just remember drifting through the fields laughing and crying, telling my gram I loved her and missed her.”
“That was one of the happiest days of my life. I remember coming back into the studio and just loved every person standing in there.”
So high I feel I think like I’m grounded
Sun shines light, moves life, surrounded
So take me higher and higher
Oh take me higher and higher
Released January 10th, “Oak Tree (Daydream)” is the sweet, sun-kissed celebration 2025 needed. We’re only a month in, but that first month felt like a full-on year. It’s going to be a long one, and we’ll need music filled with love, light, and laughter to help see us through. Arcy Drive – together with special guest John Sebastian (founder of The Lovin’ Spoonful) – have, with this song, given us not just a balm for the hard times, but also a guide back to our own happiness – the places and spaces that center us, giving us meaning and purpose. Tune out the noise, turn on “Oak Tree (Daydream),” and find your euphoria.
And what a day for a daydream (so he said)
What a day for a daydream (yeah)
What a night for a daydream (so he said)
What a day for a daydream (yeah)
I get up, I get up, I get up
I get up, I get up, I get up again
:: “One Lone Candle” – Thomas Thomas ::
Mitch Mosk, Beacon, New York
I’ll be hitting ten years in my relationship this year, and I’m glad I get to celebrate that love with songs like “One Lone Candle.” Thomas Thomas’ first release since 2021 is a dreamy, playful indie pop ode to those intimate connections that keep burning brighter and deeper with every passing year.
“I love the image of a candle that refuses to go out, and that’s how I feel about the love we were trying to capture in this song,” frontwoman Shannon Thomas shares. “It’s the slow burn, the one that sticks with you long after the flash of a fiery moment has passed.”
You say
Darling you’re going grey
I’m in love, so in love,
still in love with the one I have
Youth fades
Oh in mysterious ways
I’m in love, so in love,
still in love with the one I have
Together, Shannon Thomas and her bandmate Thomas Englund (hence the name ‘Thomas Thomas’) sing a heartwarming back-and-forth, their voices accompanied by jumpy guitars, a dynamic drum beat, and glistening keyboard chords – all of which add to a sense of sweet cheer, joy, and appreciation.
“The song is an ode to the often-unsung long-term relationship,” Thomas adds, diving deeper into the track. “It romanticizes starting to see the odd grey hairs on your partner’s head and being fortunate enough to add more candles to the birthday cake. The song’s vocal hook, ‘one lone candle / one girlfriend’ is an allusion to the superstition that failing to blow out all your candles will result in a relationship this coming year. A single candle left burning felt like a perfect symbol to the ideas we were exploring. The songwriting and arrangement heavily reference early pop music of the 50s/60s with its sincere direct lyrics and girl gang vocal hooks. But the sonics are all modern indie-rock: jangly guitars and warbling synth leads.”
Don’t say it out loud
Or it won’t come true
All I’ve ever wished for was you
Candle count may have increased
But I still picture the same face
When I blow ’em down I always leave one
So you say “oooh one girlfriend”
One lone candle
One girlfriend
One lone candle
On a deeply personal level, what makes “One Lone Candle” so special is how expresses, in song, what I’ve thought and felt every day for the past ten years. It doesn’t get any better than love, and whether you’re 1, 5, 10, or 50 years in, that love is – always and forever – worth cherishing. Songs like this only serve to amplify that eternal truth.
You stay
For one more birthday
I’m in love, so in love,
still in love with the one I have
Don’t say it out loud
Or it won’t come true
All I’ve ever wished for was you
Candle count may have increased
But I still picture the same face
When I blow ’em down I always leave one
So you say “oooh one girlfriend”
One lone candle
One girlfriend
One lone candle
:: It Is Cyclical, Missing You – Lily Talmers ::
Josh Weiner, Washington DC
I had a long ride back from a ski trip to Vermont this past Sunday evening, but access to some poppin’ new tunes always make lengthy journeys of this nature go by more easily. In this case, it was a pleasure to make my way through all of It Is Cyclical, Missing You in one go while driving home to Boston.
The album’s author, Lily Talmers, is originally from Michigan but now resides in Brooklyn, New York. She formally started recording music in the late 2010’s and has been mighty prolific during that interim, having released five LPs since her 2019 debut, all while working full-time as a literature teacher. Each of the 13 songs in her new batch was recorded in a single take, and no fewer than 20 guest musicians stop by to contribute a variety of instruments (one, Konstantinos Revelas, even plays the bouzouki, in honor to the Greek heritage that both he and Talmers herself share).
The common narrative thread these songs share, according to Talmers, is the theme of Hope. Throughout the album, this emotion is imagined as a person, and each song details “the triumphs and miserable disappointments that result in saying ‘yes’ to her as she extends her hand to you.” Hope is as Greek a theme as it gets (as you’ll recall from the story of Pandora’s Box, perhaps) and for it to be elaborated upon musically is quite the intriguing prospect. It Is Cyclical, Missing You pulls it off remarkably well.
:: No Depression in Heaven – Midwife ::
Noa Jamir, Lafayette, Louisiana
Madeline Johnston, best known under the moniker Midwife, is an incredible one-woman show. From playing multiple instruments, to audio engineering, to adding backing vocals on Ethel Cain’s most recent project, as well as releasing 5 of her own albums under the ‘Midwife’ name since 2017, Johnston is a delicate and captivating force to be reckoned with.
Her latest record, No Depression in Heaven, received critical acclaim and was named Paste Magazine’s 66th best album of the year in 2024. Singing through a telephone receiver to create a whispered and warm sonic effect, Midwife delivers a hypnotic performance on No Depression. It creates a feeling similar to dissociating while driving on the highway, where suddenly, 30 minutes have gone by, and you can’t remember where the time went or what you did with it. It is a peaceful kind of detachment from space and time.
The album’s melancholic mood, nostalgic melodies, and mantra-like choruses have a healing effect on the noisy mind. Just like gentle sounds in ASMR can help relax the body, or how singing bowls might put someone at ease during a bout of anxiety, No Depression serves as a balm for the weary soul. With each song, one falls deeper and deeper into a state of tranquility and wholeness. It is a blissful, somber, and tender soundscape to fall into.
:: “Runner” – Kaley Scott Collins ::
Emily Algar, Oxfordshire, UK
This week country musician Karley Scott Collins released her first song of 2025, “Runner,” a tale of what your first real heartbreak can do to you and how it can inform all the relationships that come after.
Born with an innocence
Raised in a picket fence
Back when ignorance was bliss
I gave you all of me
The light in my eyes for free
You sealed my fate with a kiss
And I curse you by name
For what I became
And I couldn’t even tell my own mother
“They always say the first cut is the deepest and in this case it was true – it took me all of 7 years to find the words to describe that feeling, of someone hurting you so deeply that you look for the worst parts of them in everyone else you ever try to love, and how someone can influence the way you look at love and vulnerability for a really long time whether they deserve to or not,” Karley Scott Collins tells Atwood Magazine.
The song starts with an innocence and a first love that doesn’t last. Each verse moves through the wreckage and examines the scars of what that first heartbreak has done to every relationship since, “Keep my heart in a vault/ These walls are ten years tall/ There ain’t foot-holes to climb ‘em.” Each chorus is a reminder of what the very worst heartbreak can do to a person.
Like all of her music, the song blends her two loves: country and metal together. The music is heavy and has a repetitiveness as the piano chords unfold from the beginning to the end of the song. Scott Collins’ voice is steady until we hit the bridge,with the bitterness and hurt spilling out.
A breaker
A cry about it later
I don’t give ‘cause I once loved a taker
I was a truster
You ripped the rug from under
The feet of a girl who once was a lover
“Runner” is less about the person that hurt her or the heartbreak that changed her, and more about the loss of who she was, the person she should have been.
:: “Freak” – LYRA ::
Joe Beer, Surrey, UK
Irish pop artist LYRA unleashes her wild side in her playful new single, “Freak.” Serving up an anthem to celebrate every inch of who you are, the songwriter urges you to never hide your inner-freak, adding, “This is a song about being a sexy ass powerful woman. As a woman I have been told “be sexy but not too sexy” well f* that. This song is all about the power of a woman’s sexuality. Bring your ego to the dance floor.”
The bold and unapologetic track enters with moody synths and hard-hitting beats pulsing with a dark, edgy energy. Casting a sinister vibe, “Freak” will have you under its spell, completely hooked from start to finish. With her music previously detailing stories of love and heartbreak, 2025 sees LYRA entering a new era, as she focuses on self-love, empowerment and embracing who you are.
:: “As Good As It Gets” – The Froot ::
Mitch Mosk, Beacon, New York
The Froot’s first song of the year is a heavy, psych-soaked fever dream full of hazy sonics and hearty emotions. Released January 10th, the achingly intense “As Good As It Gets” channels a familiar intrusive thought into heavy, hypnotic music, as the Hull, UK-based band invite us to join in their meditative reverie – a rumination on what it means to be, to want, to have… are we ever satisfied? Do achieving our goals actually result in happiness, or is it all a fallacy?
“This song is influenced by our heroes and the best songwriters of all time – The Beatles and all other 1960s songwriters that are close to our heart who helped shape us as a band,’ The Froot’s Louie Donoghue explains. “The song is closely inspired by Rodriguez’ song ‘I Think of You,’ and Paul Weller’s song ‘Above the Clouds’ more specifically and identifiably influenced this song, subconsciously, with a sprinkle of ‘modern’ synth sounds.”
“‘As Good As It Gets’ was written on my 1960s 12 string guitar in my bedroom at my mum’s house. The song is about real life and my real life and real living,” he adds. “We call it Dreamgaze. Dream pop and Shoegaze, rolled into one. We aim to deliver a timeless sound with real, timeless songs.”
I listen to “As Good As It Gets” and actually hear Pink Floyd – which is a reference I don’t get to make very often. The sheer dreamy heat of The Froot’s guitars, combined with the raw aching in those vocals, are very reminiscent of Pink Floyd’s late ‘80s and early ‘90s work on A Momentary Lapse of Reason and The Division Bell – those final post–The Wall studio albums that, in my opinion, make up their most overlooked era. Over six minutes, The Froot entrance and enchant our ears, immersing us in their spectacular ‘dreamgaze’ world as they contemplate the very nature of our fleeting human existence.
:: “Shadowpain” – O’Phantom ::
Mitch Mosk, Beacon, New York
There’s an untamed, unfiltered quality to O’Phantom’s “Shadowpain” that makes it absolutely irresistible. From their sonics to the subject matter, the Hull alt-rock collective’s second single is unapologetically raw – a feverish eruption of raging riffs and heavy drums, combined with emotive vocals that ache inside and out. Released January 17th, the follow-up to last October’s debut single “Cold Call” puts the nascent band’s talents – not to mention a distinct penchant toward post-punk rock – on full display.
“For me, ‘Shadowpain’ really became a turning point for us as a collective,” keyboardist Rose Barker, who plays in O’Phantom’s core lineup together with bassist Rowan Foster and vocalist Daniel Mawer, explains. “It was the second song we recorded with Matt Peel, whose deep knowledge of synths and electronic music really helped to push those sounds forward in the track, and encouraged us to step out of our comfort zone and grow. We still find ourselves coming back to this song as a touchstone when we’re writing new material.”
Dark, churning, and charming, O’Phantom are undeniably starting 2025 on a high note. “Shadowpain” is utterly enthralling, ensuring we pay extra close attention to this band over the months to come.
:: “Nada Más Solo” – Azul Kechi ::
Danielle Holian, Galway, Ireland
Azul Kechi’s latest single “Nada Más Solo” is a radiant testament to self-discovery and artistic freedom, weaving together elements of neo-soul, R&B, and jazz with seamless finesse. From the opening tight drum groove to the shimmering piano flourishes, the track exudes warmth and sophistication, drawing listeners into its intimate yet expansive soundscape. Azul’s vocal delivery is effortlessly confident – her smooth, expressive tones dancing between sultry croons and rhythmic spoken word, reinforcing the song’s empowering message of individuality and self-acceptance.
Beyond its lush instrumentation and sleek production, “Nada Más Solo” thrives on its emotional core, capturing the essence of letting go and embracing one’s true self. Azul Kechi’s lyricism is as poetic as it is bold, carried by a performance that feels both personal and universal. The track stands as a shimmering introduction to her world – one where rich, textured melodies meet fearless self-expression, leaving listeners eager for more of the soulful storytelling she’s poised to deliver in “Celestial Love.”
:: “Butterfly Girl” – Alexia Faith ::
Grace Holtzclaw, Los Angeles, CA
Alexia Faith is a debut single from rising pop meets R&B sensation Alexia Faith. As a songwriter, Faith captivates with infectious melodies and vibrant hooks that breathe life into her warm, soulful vocals. Her debut release, “Butterfly Girl,” is about transforming into your best self and soaring to new heights.
“Butterfly Girl” radiates with striking electronics, gripping percussion, and effervescent yet rooted vocals from Faith herself. She sings, “Step away from the dark / Come into the light / You’re a butterfly girl / Don’t you know you’re a shining pearl.” The song encourages listeners to rediscover themselves through uplifting lyrics and touching metaphors that resonate deep with the heart. “Butterfly Girl” is an anthemic celebration of self-love that reminds us all of our true power within.
Alexia Faith is committed to empowering women through her songwriting. Her new single “Butterfly Girl” was produced by Printz Board. Outside of music, Faith is an actress who has appeared on Nickelodeon, Disney Channel, Fox Soul, and Sky News London. Faith is a multi-faceted artist and “Butterfly Girl” is only just the beginning for her.
:: “Here Lies the Fool” – Kameron Marlowe ::
Emily Algar, Oxfordshire, UK
“I made this bed, if this barstool was a headstone, here lies the fool” is one of my favourite lyrics. It’s clever, evocative and paints the perfect picture of drowning your sorrow in a bar.
Country artist Kameron Marlowe co-wrote “Here Lies the Fool” with fellow country artist Laci Kaye Booth and producer Ben West. The song is the latest single from Marlowe’s EP, Sad Song for the Soul. The record has a vibe not dissimilar to Chris Stapleton’s breakout album record Traveller with its soulful, bluesy sound and slow, country drawl. However, it is also utterly unique to Marlowe. His songwriting is sensitive, sad and at times, dark, but above all, it’s honest.
I am very new to Marlowe and his music so I wasn’t sure what to expect. However, when I heard he had covered “Burning House” by country-pop artist Cam and had written with Booth, I knew his music wasn’t going to be the run of the mill country music.
“Here Lies the Fool” is one of the saddest songs I’ve heard from a male artist in a while. Marlowe likens to being left, to being buried deep in the cold earth. The narrator knows he’s to blame for the end of a relationship, but still he sits at the bar, hoping she’ll pick up and wake him up.
Nights are gettin’ long
and I’m gettin’ restless
I’m callin’ your line,
hearin’ the dial,
damn it, I’m desperate
And I made this bed
and I gotta lay here
without the woman I love
So here lies the fool
:: “Darling” – Buboy ::
Mitch Mosk, Beacon, New York
The angst of youth comes at us full-throttle in Buboy’s first song of the year. Independently released January 8th, “Darling” is tender and turbulent, charming and churning: A gritty and glistening eruption of charged indie rock that speaks to an ocean of emotions within and without. Change comes at us fast, especially in that long transition from childhood into ‘adulthood.’ Navigating those murky waters is never easy, and in “Darling,” 19-year-old Buboy unveils some of the trials, and tribulations of his own teenage years.
Tell me baby, how does this end?
I’m trying my best to get used to
Maybe just maybe we’re not the same
We’re not the same
Tell me baby, how does this end?
I don’t feel just like I used to
Maybe, baby, this is how it’s meant to be
Are we meant to be, cus
“‘Darling’ is the second single off my upcoming debut EP Sixteen, which is about the messy uncertainty of being that age,” he explains. “I wrote this song in May of 2023 as I was graduating from high school. ‘Darling’ started off as grieving how someone I used to be close with had changed so much, into someone I didn’t know anymore. I felt a lot of anxiety about growing distant from people I wanted to keep close. But over time, as I continued to write and produce he song as I started college, it evolved into a more joyful, triumphant celebration of growth.”
“It originally felt like a cry out to the person I wanted to still know, but eventually it felt like I was more so talking to myself. Telling my younger self that it’s okay to grow up and turn into someone different. I still held the time we spent together warmly but I’ve grown up a little bit, too. Now I’m celebrating that I’m not the same as I was.”
Time hasn’t been so kind to us now
And I know you’re different, darling, oh
You’re different now, darling
You’re different now, darling, darling
You’re different now, darling, darling
They don’t tell you this when you’re young, but the challenges never stop; you keep hitting more and more of them as you age, and hopefully experience makes you a better navigator – but not always. “Darling” is thus an evergreen anthem of overcoming challenges and celebrating our changes – an intimate eruption, rife with roaring guitar licks and evocative vocals, that speaks to one of life’s constant truths.
:: “Hear Me Out” – Blue Capricorn ::
Danielle Holian, Galway, Ireland
Blue Capricorn’s latest single “Hear Me Out” is an electrifying dive into a sonic world where electronic, indie, and synth-driven beats collide. From the opening moments, the track exudes an emotional rawness that feels both intimate and universal—a yearning for connection, love, and understanding. Serving as the lead single from his forthcoming EP, “Hear Me Out” is a statement of intent. Blue Capricorn’s fearless approach to blending shimmering synths with intricate samples creates a soundscape that’s as bold as it is tender, setting the tone for a project destined to push boundaries.
The track’s backstory adds another layer of intrigue. Initially conceived as a collaborative effort with Michael Briggs, “Hear Me Out” unexpectedly morphed into something deeply personal—a piece only Blue Capricorn could own. Its creation was fueled by improvisation and spontaneity, with the artist aiming to evoke specific emotions through each element. Lyrically, it’s a poignant exploration of vulnerability and the longing to be truly seen. Blue Capricorn describes it as one of his heaviest and most introspective works, and it shows. Every note and lyric feels imbued with his relentless drive to innovate and connect. For fans of Ela Minus or Nicolas Jaar, “Hear Me Out” is a transformative listen that leaves you eager for what’s next.
:: “Smoke Screens” – Jaidson ::
Danielle Holian, Galway, Ireland
Jaidson’s latest offering “Smoke Screens” is a testament to the rising star’s innovative approach to pop and R&B. The single, carefully crafted as part of his ambitious Unburdened Effect project, showcases the artist’s signature sound to perfection. With Voix on production duties, the track boasts an added layer of depth and dynamism, making it impossible to get out of your head. Jaidson’s captivating lyrics and infectious melodies have already earned him a devoted fanbase and critical acclaim, and “Smoke Screens” is sure to further cement his status as a standout in the industry.
As Jaidson gears up for his next studio project “Retro Feelings” it’s clear that the future of pop and R&B is in good hands. With his unique blend of romance-infused melodies and innovative production elements, he’s redefining the genre one electrifying release at a time. “Smoke Screens” is a masterclass in modern pop, with Jaidson’s artistry shining brighter than ever. If this is just the beginning, we can’t wait to see what’s next for this talented young artist.
:: “alkaline” – PANIK FLOWER ::
Mitch Mosk, Beacon, New York
It’s the inescapable aching at the core of PANIK FLOWER’s new song that hits me hardest – which is really saying something, because everything about “alkaline” hits hard. The New York City dreamgaze (shoegaze + dream pop) band channel raw emotions into a dark, heavy, heated, and hazy atmosphere – exhaling inner tension and turmoil as a cathartic and all-consuming musical fever dream.
Inhale the tide
the waves wash over
Hands are tied
To be where you lie
But the bed’s been made
And the well is dry
Alkaline…
“Jordan brought this to us a long time ago, and I remember being incredibly persistent about having to flesh it out,” Mila Stieglitz-Courtney tells Atwood Magazine. “There is something about the chords that are so beautifully haunting and are begging to be heard. What started as a fun grouping of chords that Jordan was noodling around with soon evolved into an emotional winding road with peaks and valleys.”
“We spent a lot of time perfecting the wall of sound at the beginning of this track – we wanted to capture a certain intensity with this part while also having it be fuzzy and warm. The dynamics swiftly shift into a more pared back, sparse instrumental which really plays with this push-pull juxtaposition that a lot of the EP encompasses. You’re then thrust into this super driving chorus. The whole song really has this sense of yearning from instrumentals to lyrics.”
Burnt in my mind
Scorched memories
I can’t deny
Undo the time
Crimson chemistry
Now blue in dye
Alkaline…
Released January 14th, “alkaline” is the lead single off PANIK FLOWER’s upcoming sophomore EP rearview, out April 30th. The follow-up to 2023’s debut EP Dark Blue promises to push the band’s sound and subject matter further, exploring “identity, namely the double-sided nature of uncertainty and self-acceptance,” and “transcribing this self-exploration into a plush and emotive soundscape” (per the band).
What’s clear, for me, is that the five-piece of Sage Leopold, Mila Stieglitz-Courtney, Jordan Buzzell, Max Baird, and Marco Starger have found their home in a hauntingly emotive, achingly evocative space where sound itself blankets not just the ears, but the mind and the soul. “alkaline” is a bold, masterfully hard-hitting eruption, and hopefully the first of many more to come.
:: “The Garden” – Siblings ::
Mitch Mosk, Beacon, New York
There’s a sweet, jazzy, sun-kissed, and soulful warmth about Siblings’ first song of the year that proves both irresistible and soothing. Released January 17th, “The Garden” is a gorgeous embrace of life’s endless ebbs and flows; of the tides that come and go within us and around us; and of our very own cycles of renewal and revival. Lush piano chords, spellbinding melodies, and lead singer Theo DW’s heated, soul-stirring vocals create an enchanting atmosphere of dreamy, golden-hued wonder.
Good morning said the kiss of day,
The world is changing in so many ways,
Brand new birds on the sky,
And we’re looking for a reason why,
I wonder why we came,
On the wave of all our days,
On the sea of love inside,
We spill over to the other side
Find me in the garden,
Find me in the light,
Find me in the garden,
Oh river of time,
Find me in the ocean,
In the seas and in the soil,
Life is in the garden,
At the wishing tree I am free
“Lyrically, it is about rebirth; the garden is a tender place of innocence and unconscious change,” the band shares. “The musical idea is based on a chord progression that Rob wrote years ago and had been rearing its head on the piano at our rehearsals every so often. Theo came up with the chorus hook and from there the song developed to where it is now with some reference to a demo that Rob had made. It took a little while to get the vibe right for the recording until we stumbled upon this distorted drum sound with brushes and delay which was a turning point and then the rest came easily.”
Blow a kiss said the sun to earth,
Always turning since your birth,
Always watching as you grow,
As one comes another goes,
I’m a mountain you can see,
You’re the wave that flows in me,
All the love so deep inside,
We roll over to the other side
“The Garden” is the lead single and title track off Siblings’ upcoming sophomore EP, and a striking look at the South London band’s rich musical talent – their ability to deftly build timbres and textures, harmonies and melodies together into a singular, expressive outpouring. From Theo DW’s hot-on-the-mic singing and Rob Fenner’s radiant guitar soloing, to the deep grooves formed by the Matthew Willett’s piano, Michael Webb’s bass, and Ben Andrewes’ drums – and everything in-between – this song is a veritable wellspring of inspiration – a source of refreshing sonic light that I’ll inevitably keep coming back to in the long days, weeks, and months ahead.
Find me in the garden,
Find me in the light,
Find me in the garden,
Oh river of time,
Find me in the ocean,
In the seas and in the soil,
Life is in the garden,
At the wishing tree I am free
Find me in the garden,
Find me in the light,
Find me in the garden,
Oh river of light,
Find me in the ocean,
In the seas and in the soil,
Life is in the garden,
At the wishing tree I am free
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