Kimberly Anne, also known as LANTA, is a singer/songwriter from South London and a truly extraordinary talent. You may recognise her voice from Sam Feldt’s hit cover of Show Me Love, but despite her chart-topping success as a vocalist, Kimberly isn’t going to let anyone tell her what music she should be making. Someone who doesn’t need a leg up from anyone, now publishing songs under the pseudonym LANTA, Kimberly continues to create the same remarkable songs she has always done – oh boy you’re in for a treat.
I could talk all day about any of Kimberly’s old tracks back from her days as simply ‘Kimberly Anne’, but let me share the very first song of hears I listened to, one which stopped me dead in my tracks; ‘Bury It There’, released in 2012.
This track is, and I say this with no hesitation, nothing short of genius – a pure blend of acoustic pop with soul, beats inspired by different cultures and powerful lyrics fit for an equally powerful voice… Oh, how I envy you hearing this tune for the very first time.
The release of Bury It There and subsequent 5-track EP deservedly earnt Kimberly Anne much attention from the UK music scene and festival slots alongside the likes of First Aid Kit, Haim and The Rolling Stones.
After discovering Kimberly’s music, it wasn’t long before I began asking people ‘have you heard of Kimberly Anne?’ ‘You must have?’ ‘She’s incredible!’
Brought up on the music of Van Morrison, The Cure and Bloc Party, Kimberly taught herself to play the guitar before studying percussion for a time in West Africa – an experience which has given her tunes some refreshingly unique characteristics.
After the release of her EP Ballads in 2017 and her feature in Sam Feldt’s hit dance track (although house was not really my thing), I eagerly awaited to hear more original work from the songwriter, whose talent can only be truly appreciated by listening to the songs she writes herself.
Years went by and nothing came. I wondered what had happened to Kimberly, as did most of her following at the time. An empty website, all social media channels gone and a youtube comment section begging for more incredible music, it wasn’t easy to track her down. Then in 2019, she relaunched as LANTA – a new name and a statement to the music industry that she wasn’t going to be snatched up by labels looking to ride on the back of her chart success. She wanted to make music that really mattered to her – and that we applaud!
Through her new ’80s soaked soul tracks, LANTA writes about the things that matter in her life, her sexuality, her mental health and her confidence – through this she is slowly becoming a role model for lots of young individuals and a much-needed voice for today’s openly gay black women, a role model she admits she never had growing up.
A new name for her music and newfound confidence, but the same brilliant songwriter. As a former student of The BRIT School who studied there around the same time as Adele, there’s nothing now standing in the way of Kimberly Anne/LANTA becoming just as triumphant. It’s still early days for her new musical persona, but with a voice and talent this big, she surely won’t go unnoticed in times to come.
‘Orgone’ is a term best described as an esoteric energy or universal life force but more importantly, it’s an incredibly well-fitting name for this musical time machine of a band, that’s continually bringing a magnetic power to groove and soul…
I was genuinely taken aback at how well the West Coast collective capture the sound of classic 60s/70s funk, perfectly delivering an essence that I was searching for more of- specifically from current artists. Their time travelling isn’t just to the heyday of funk though, upon further listening, so many more influences surfaced from New Orleans jazz to modern hip-hop. Perfectly melted together, their sound has resulted in comparisons to not only legends such as Chic and Earth, Wind & Fire but also 21st-century stars like Childish Gambino.
I already recognised a few of their biggest hits (as you might too) but since properly discovering the band I’ve had their tunes playing non-stop. Blending from one to another as seamlessly as their styles are combined, I often find myself in a trance when listening to their mixing pot of sounds. Sometimes it feels like only a fleeting moment has gone by before I’ve made it through an album; always leaving me ready and raring to start the journey all over again. Their bold, flowing mixes and ability to take you to another time and place go to show that it’s not just me in need of their sound in my life as they’re guaranteed to satisfy any musical void that you’re looking to fill or just breath some new life to your playlists.
The California bands’ only consistent members since forming in 1999 are founders Dan Hastie on keys and Sergio Rios on guitar and engineering duties. However, the group has now stood at a solid five members for their last five albums, with Dale Jennings on bass, drummer Sam Halterman and singer Adryon de León joining Hastie and Rios in 2013 to form a more permanent set up.
Many of their mesmerising tracks tell a story without a single word being sung but León takes things to the next level-shining brighter than ever on their 2019 album ‘Reasons’ with vocals on every track (We Can Make It is a personal favourite of mine). A variety of additional talents from Fanny Franklin to Jesse Wanger are often brought on board for vocal contributions as well; also helping to take things up a notch and ensure a consistently changing sound.
Always fresh and exciting the band are amazing in the studio where they produce their popping tracks and even work with artists such as ‘Queen of R&B’ Alicia Keys. The excitement doesn’t just stop there though as up on stage they really come into their element. Creating a kind of party atmosphere that would have fuelled Studio 54 back in the late 70s they clearly thrive off of their live audience grooving out to their glorious performances. Whether they’re in front of fans, working with top talents or on their own, there’s always an electrifying vibe in the room, as evident in the clip below-
In late September of this year, the band put out ‘Connection’, their appropriately named tenth record that instantly creates a relationship with its audience and bonds together all of their best elements. Kicking off with The Vice Yard you’re hit with powerful horns, sleek guitar licks and a pounding rhythm section; immediately locking you into the experience. The album goes on to provide a more futuristic vibe with tracks like Love Will See Us Through; evoking the the-sci-fi elements of time travel with electronic experimentation and making it clear to see why people are reminded of albums such as Gambino’s ‘Awaken, my love!’. Other stand out songs include The Truth, featuring a marvellously groovy riff and outstanding display of Kelly Finnigan’s husky voice, This One Time; a sweeping Motown dream and the reggae-infused This Space.
Although ‘Connection’ might be the finest exhibition of their greatest strengths it certainly wouldn’t exist without all efforts that came before, where these elements began to materialise. Whether it was using steel drums or synthesizers, Orgone have been making hits since the early days with their self-titled debut album back in 2001 displaying their ability to genre jump and produce superb songs from the very beginning. Truly breaking ground 6 years later with their full length follow up ‘The Killion Floor’ they’ve continued to create hit after hit and I don’t see them stopping any time soon.
Perfect for a chilled-out groove or conquering the dancefloor I strongly urge you to get listening Orgone anytime or any place and be transported by their universal energy.
The music of Lisa Mitchell is perhaps some of the most heart-string tugging stuff around. The self-made singer, born in England and brought up in Australia, topped the iTunes charts in 2007 after appearing on the Australian singing competition ‘Australian Idol’ when she was just 16.
Since the start of her career and the days of live streaming to her MySpace page, Lisa Mitchell’s unusual journey through music has only gone from strength-to-strength. 14 years on and with three astounding studio albums plus four EP’s under her belt, Lisa continues to make us feel our very deepest emotions with her soulful melodies and sincere velvet-like voice.
Although in the past singers who break through on talent shows have maybe been given a bad rep, normally due to a common trait of having an incredible voice but no real songwriting ability, Lisa Mitchell is a welcomed exception to the rule. Her tunes are intelligent, moreish and charming in every sense of the word. You only need to listen to one of her songs to get a sense for her deep feeling, empathetic personality.
A fantastic well-rounded talent; her music and career, built on the foundations of home recording and unique skill, has certainly been inspirational to many young, especially female, songwriters today.
Her astounding debut album ‘Wonder’, released two years after appearing on Australian Idol, certainly delivered on the promises of her perceived talent. Mitchell’s later work sounds much more grown-up and refined, her two follow up albums ‘Bless this mess’ and ‘Warriors’ are a big step up in terms of their production as well as their overall mood.
Each of her albums seemingly has a song for every state of mind – from hope to complete despair, whatever emotions you need to get out, I’ll bet you Lisa has a song written just for you.
Mitchell’s sweet voice and beautiful acoustic melodies create vivid nostalgic images, but not from your own memory, from hers. Through her music, like light which enters a camera, her songs are a picture of her reflected memories. Listening to her songs reminds you of falling in love with a summer romance; after days spent together in the sun, as the autumn finally comes around, you part ways, but the feelings you have for each other will never be lost.
It’s the very same feeling you get in your chest watching the films of French director Michel Gondry (‘Eternal Sunshine’, ‘The Science of Sleep’).
Over recent months, we’ve seen that despite being locked down in Melbourne, Lisa certainly hasn’t lost touch with her roots as a MySpace celebrity. 14 years on, she still streams original songs to fans on Instagram TV.
With new demo’s being teased on social media, we hope it won’t be long before we hear more from Lisa. As always, we’ll be waiting with eager ears and faithful hearts.
Listen to Lisa’s most recent EP ‘When They Play That Song’, full of brilliant covers of the very people who first inspired her.
Some bands are difficult to understand. Not being able to speak much French, I understand just about as many lyrics from the exquisite french band ‘La Femme’ as I understand their mind-boggling, hypnotic and seemingly other-worldly style – but you don’t need to speak the language to find out what a truly amazing band they are, you just need to listen.
La Femme are a group totally unafraid of playing around and creating mesmerising sounds. Completely entrancing at the best of times, they are truly one of the best psych-rock bands out there at the moment. I’ve often found myself sitting on a train listening to one of their songs and totally losing all attachment to reality, like the world around me is melting away between my fingers – usually, I’m listening to this corker of a tune;
Their debut album Psycho Tropical Berlin is something I keep coming back to on a regular. My year doesn’t feel right without listening to it at least once. Putting on their songs feels like falling through deep space, or one of those heist movie scenes where they gear up and put their plan into motion… I thought this edit perfectly describes listening to this particular song, however, TWM does not endorse drug taking of any kind, unless that drug is La Femme.
Everyone loves a good psychedelic punk band, but La Femme are something else. Heavily influenced by bands such as Velvet Underground, guitarist Sacha Got and keyboard player Marlon Magnée formed La Femme in 2010 then released their first two EP’s to high national and international praise.
Since the band’s beginnings in Biarritz in the South of France, nine people from cities across the country now form the band’s lineup today.
Last month, the band released their brand new single ‘Paradigme’, along with a message for their fans; “Paradigms vanish, masks come off. From now on, nothing will be the same anymore.”
The band also released this truly captivating video quite unlike any we’ve seen from them before:
With a bold new image and brand new ideas, La Femme have set out to re-brand themselves for a new era. The announcement of their partnership with IDOL digital distribution and the promise of an upcoming album means we’ll be keeping a close eye on La Femme and are looking forward to our brains being melted once again by this truly remarkable group with a surprise around every corner.
With albums like IDLES ‘Ultra Mono’ and so many other spectacular artists from the same vain currently dominating the UK charts, it’s safe to say we could be on the very edge of a new era for music and the true revival period for 80’s grunge. If hearing this makes you jump for joy, then the songs of guitarist Courtney Barnett from Melbourn are certainly ‘must-haves’ on your playlists.
After first hitting big on the underground rock scene in 2012 with her self released EP, ‘I’ve Got a Friend Called Emily Ferris’, Courtney Barnett has since grown to become one of the most talked-about rising modern rock stars of today. After two studio albums and a host of incredible singles, Courtney has earnt phenomenal praise and worldwide recognition for her garage rock sound and muddy ’90s style. This is an artist who certainly never disappoints and a woman who truly embodies the spirit of ’90s MTV Nostalgia – talented AF, cool as hell, she might just be the Kurt Cobain of her generation.
Home-made and humorous, not only does Courtney Barnett produce smashing tune after smashing tune, she continues to amaze us with her terrific funny music videos.
Along with her neutral wit and creative humour, Courtney has brought something we love about music back to the world; a feeling on authenticity, high-school DIY band vibes and a persona inspired by her classic rock influences. Commonly pictured with a Fender guitar around her, the attributes of Barnett’s grunge pioneer predecessors Johnny Marr, John Squire and Thurston Moore are not lost on this extraordinary talent.
Her early experience in music as a guitarist in several garage and psych-country bands still shines through in her music today, both in the melodies and production of her songs and through the southern twang in her slumberous vocal style.
Old school and modern at the same time, one of her more recent tunes ‘Nameless, Faceless’ from her 2018 album ‘Tell Me How You Really Feel’, along with the songs animated video, is very much in the spirit of ’90s MTV and also reminds us of Franz Ferdinand’s ‘Take Me Out’ music video from 2004.
Since the release of her last single ‘Everybody Here Hates You’ in 2019, Courtney has been quiet about any new material she may be working on since Woodstock 50 festival had to be cancelled at the start of the year, but we have seen a great cover of Kev Carmondy’s ‘Just for you’ as well as many great new songs emerging from artists signed to her self-founded record label, Milk! Records.
Courtney has been known to collaborate frequently with other artists, this week she appeared in Wilco frontman Jeff Tweedy’s creative lockdown music video for his new single ‘Gwendolyn.’
We’re dead excited to hear Courtney Barnett come blasting back onto the scene with new material soon, but for now at least we can rest assured that artists like Courtney exist in the world. We can sleep easy knowing that grunge is not truly dead.
Courtney Barnett is on tour in the UK with Nick Cave & The Bad Seeds from April 13th. Get your tickets here.
Listen to Courtney Barnett’s most recent single Everybody Here Hates You on YouTube and Spotify now.
If you’ve ever experienced the psychedelic odyssey of sounds produced by Post Animal then I’m sure you’ll be happy to join me in this celebration of their cosmic creations. Alternatively, if you haven’t yet had the pleasure of delving into their discography then I strongly urge you to find out a little bit more about them right here and join the trip…
I can still remember feeling as if I’d hit the jackpot when I discovered Post Animal in the same week that I moved to London back in 2016. At this point, they only had a handful of songs on their Spotify but those few special tracks were enough to recognise the gem that I had on my hands and have me hooked. Played out on repeat, their merging melodies became the soundtrack to my new adventure, discovering their rich sounds as I discovered my way in a new city.
Best described as ‘current psychedelic meets classic rock’ the six-piece progressive outfit formed in Chicago two years prior to my discovery. A variety of members contribute to vocals and consist musically of Dalton Allison on bass, Wesley Toledo on drums and Jake Hirshland on keyboard and guitar; joined on the latter by Javi Reyes, Matt Williams and Joe Keery (a name that you might recognise from a little-known Netflix series called Stranger Things).
Around the time that I discovered the guys, Keery’s breakout acting gig almost brought everything to a halt, but fortunately, they managed to work around scheduling and were able to carry on producing more of their sonic soundscapes. However, as his role (and hair) on the cult show began to get bigger and some time was set aside to pursue solo project Djo (check out the album ‘Twenty Twenty’ for another fantastic listen), Keery decided to take a break from touring with Post Animal. Since his partial departure, the band have continued to go from strength to strength, flowing along like their music and realising second full-length album ‘Forward Motion Godyssey’ earlier this year.
Although collectively coherent, Animal’s songs span a broad range of sounds and an extensive array of influences creep in across tracks. Upon initial listen, it’s hard not to feel like When I Get Home is cut from the same cloth as many well-loved Tame Impala tracks- but it’s by no means a copy thanks to the incorporation of some 70s rock elements. There’s also a Reckoner-Esque sound driving their eponymous track as well as songs like Safe or Not; kicking off with an initial acid house hit and transitioning into something reminiscent of Two Door Cinema Club and funk-fuelled How Do You Feel all on the same album. Not to mention the poppy stand out single Ralphie from the first album ‘When I Think Of You In A Castle’ and the likes of earlier track Lonely Jones that at times evokes a hint of ‘Lucy In The Sky With Diamonds’ (I could go on but I think you get the gist).
It’s hard not to shout about all of their songs, as each holds a place in my heart but it is clear to see that the band have grown over their years together. Certain elements of their self-produced tracks like captivating hooks and arpeggios came naturally to the guys from the get-go. However, a determination to cover such wide experimental ground meant that some of their earlier work was lacking a little lyrical direction. There was never an issue with this as their songs were still strong and got the ball rolling; it’s just more evident since they’ve truly come into their own. Progressing with a real ‘forward motion’ they’re now displaying more introspective lyrics whilst channelling a slightly darker sound which makes for an engrossing departure from the dream-like one fans were used and really dazzles.
It’s exciting to know that Post Animal have the self-awareness and skill to evolve as they have. This, combined with their ability to transport you to a summertime by a lake in the States (even during British autumn) and distort the lines between genres proves that they’re a class act and provides me with the faith that you’ll love them just as much as I do.
Last Saturday I was invited to a gig at The Amersham Arms in New Cross by London band Tenacity, who were about to play their very first gig since the start of lockdown in the UK.
This was one of the very first gigs I had been to myself post-lockdown and sitting back in a venue was strange to say the least.
Tenacity met while studying together at The BRIT School in South London, formed of band members Ula Wodarz, Tim Burghaus, Daniel Lazenby and Simba Jindu, despite being locked inside for several months, they certainly haven’t lost their ability to put on a show. Though sat at tables spaced a meter apart, their sold-out audience gave phenomenal praise to these incredibly skilled young musicians and their very sophisticated style of music. The band love playing around with loop pedals and synthesizers which this band have used to truly develop their own original sound.
The distance between members of the audience most certainly did not diminish the atmosphere of the room once the band began playing, and although I love a good mosh pit, this time it was nice by the end of the night not to be covered in beer.
Distanced crowds at The Amersham Arms
At 10 pm, as the rules state, it was kicking out time for bars. Standing outside in the lashing-down rain, I spoke to two members of the band, singer and keyboard player Ula and guitarist Daniel, along with their manager, Alessia and a few of their close friends, all of who were back out at their very first gig in seven months!
We spoke a bit about how they found getting back on stage and their thoughts on how this year has changed the music industry.
How does it feel now to be back on stage?
Ula: It felt great, I mean we were a little scared because it was a new set up and we were playing loads of new songs, I thought ‘oh no what if I’ve completely forgotten what it’s like to perform in front of people? But it felt really good.
Dan: I wasn’t so worried about the technicalities, I thought ‘you know we’ve rehearsed this, this is fine.’ But going up there I suddenly felt like I couldn’t remember what I was supposed to do when people look at me, it was quite unusual having all that attention on you again. We’ve been doing so much online and so much in our room that it felt really weird… but weird in a good way.
What have you guys been up to over lockdown?
Ula: We’ve been working on the new album which we were meant to record and release over the summer, but because of Corona we weren’t able to go to the studio and record so we were just writing loads and loads of new songs. We’ve got twice as many songs as we need for the album so we’ve been polishing those demos. We made a website, we made merch, so we’ve just been trying to do as much as we can from home.
Was it weird playing a gig with the audience spaced out like that?
Dan: Honestly for me, it felt quite good really because that’s the best the promotors can do in this situation, there’s not much else you can do but they still managed to retain the real-ness and authenticity of live music without breaking the rules, the promoters did a very good job.
Can you see this being able to continue or do you think there may be another point in the near future where you won’t be able to gig?
Ula: I think that’s very possible, we can’t really tell, obviously we love to play live and play as much as we can and we hope there will be more events like that happening but no one knows for sure, so we’ll see.
Talking of strange gigs, what was the worst gig you’ve ever played?
Dan: Oh my – wow – there’s been a few…
Ula: There were quite a few where the lineups were very strange, where the artists were say for example an indie singer with a guitar, then a metal band, then us who are pop-rock then some guy with a banjo… we’ve had some gigs that nobody came to also, it’s been quite a journey, especially at first. There was a time in the beginning where we were just playing so many gigs that our friends said ‘sorry we don’t have money left to buy tickets.’
Whats the best way to prepare for one of these gigs?
Ula: Well, for this one we’ve been rehearsing for the past two weeks every day, even just sitting in our rooms practising our parts, dress rehearsals in our rooms at home so that I wouldn’t trip over my heels or trousers on stage.
At this point, the bouncer came out of the venue and pushed us away straight into the rain, where I continued the conversation with the band’s manager, Alessia.
This is the strangest interview I’ve ever done, hello you must be Alessia. So what’s it like managing a band at this time?
Alessia: It can be really challenging, I have to think about and create new ways to promote them and new ways to do all sorts of stuff, but at the same time it’s also exciting, I mean we have so much technology to make use of.
How did you feel as a manager seeing them go back on stage?
Alessia: I was really proud, really happy to see them back up there after all this time.
In six weeks time, where do you hope you’ll see the band?
Alessia: Hopefully back on a stage again, but if that’s not going to happen, on as many blogs and in as many press articles as possible.
So right now as a band, do you feel very home-made?
Dan: I think in the last seven months particularly yeah, I think that we do a lot for ourselves, I mean we’ve very lucky to have Alessia now who’s helping us out with managerial things, but prior to that we were just trying to push ourselves in every way that we could, we were sending out a lot of emails and sending out applications for festivals and things like that, so I think that we’re kind of making our own way, and as I say we’re lucky to have our manager too.
Do you think your generation has missed out because of lockdown when it comes to the opportunities available?
Dan: I think that in a sense we’re lucky because we have more of a chance now to been seen than in the past, but in the same sense there are so many people doing music right now and struggling, and the algorithms today don’t really work in the favor of small artists. We’re kind of in the thought process of a music video right now, we’ve written a lot of songs over lockdown so we’re just kind of figuring out what to do with those. We recorded our last music video over lockdown in my bedroom, luckily we had someone clever enough to make it look good.
Ula: I think it will affect every band but not in a bad way, yes you’re not able to perform at the moment but this is a really good time to write and be creative, stuff you wouldn’t have time for if all your energy was focused on playing gigs.
If 2021 ended up being the same as 2020 and lockdown went on into the new year, do you could survive as a band and would your audience still be able to support you?
Dan: I feel like life goes on, and honestly in a way it sucks but the thing is; if you don’t carry on what are we going to do with our lives? If things get bad and you just stop and mope about it, yes it’s ok to be sad, it’s ok to be upset, but you mustn’t let it stop you. That’s very hard sometimes, but in the end, we have to persevere because if we don’t and live music doesn’t then what are we gonna do?
Leah: I think we’re all creative as well, we’re all good at adjusting to weird situations, we improvise, and also because music is our lives so we don’t have a choice not to do it, as musicians, we’ll find a way around anything.
Left to right: Leah and Charlie (guests and friends of the band), manager Alessia and her boyfriend Federico, Ula and Dan from Tenacity – taken after their (very soggy) interview for TWM.
Thanks so much to the band being open about how lockdown has affected them and for inviting me along to their phenomenal gig. I look forward to going back to see them in future. You heard it here first folks, their new album is in the works, but if you can’t wait that long check out Tenacity on YouTube right now.
It’s a real surprise that after the release of two impressive EPs and supporting several big-name bands from IDLES to Future Islands that Dublin based Pillow Queens haven’t had people shouting about them left, right and centre. Nevertheless, their experience with fellow artists fronting the current rock movement and a knack for turning out sonically rich songs in their own right has proven that they’re an indie force to be reckoned with. All things combined they’ve just delivered a record you didn’t realise you’d been ‘In waiting’ for but after a listen won’t be the same without.
The album encapsulates a hazy sense of hope and instantly has you hooked on all manner of components from sweeping melodies, flourishing tones and lo-fi layering. Together, the result is ten all-star tunes from the female foursome that met on a basketball court in their hometown (a fact that I had to drop to further emphasise that they’ve been cool since the get-go). There’s an almost magnetic draw in the first few twinkles of the haunting ‘Holy Show’ and you’re instantly connected as soon as Sarah Corcoran’s crooning voice pierces through. From that moment up until the last echoes of closing track ‘Donaghmede’, the band take you on a journey where you can’t help but feel all of the emotion that their songs are created and delivered with. Each track seamlessly melts into the next; ushering you into a new stream of thought before you even have the chance to realise, leaving you in a dreamlike trance-ready to become the monarch of your own pillow.
The journey doesn’t just happen as one tune flows into the next though; you’re taken on a voyage with each individual song. Not only are they gentle and melodic but also fierce and rocking, transitioning as effortlessly as one of this era’s most iconic alt bands Wolf Alice. ‘Handsome Wife’ is a great display of how they start gracefully, then seamlessly build to raspy exclamations and when ‘A Dog’s Life’ gets going it delves into even edgier territory with grungy guitars and more punk-like chants in a prominent Irish twang. Overall, I’d compare the Queens’ arrangements to a crisp winter morning, sun piercing through the clouds and glistening on snow; bright and refreshing but not without a hint of gloom and bite.
There’s an abundance of stand-out elements besides their progression too, like the poignant folk cries repeated at the end of the self-love reminder ‘HowDoILook’ that help to provide a shining example of their flawless transitions into the emotive melody that is ‘Liffey’. Further messages of positivity can also be heard in fan favourite ‘Gay Girls’; a wake-up call to people of strict religion and those alike that there’s no need to worry when it comes to different sexualities, featuring a catchy hook and accompanied by a cracking music video. It’s exciting to hear more top tunes from such empowering female representation in the rock industry, using their talent to draw attention to causes that many listeners will care about just as much as they clearly do. I also love that they have a rock ‘n’ roll attitude with regards to their opinions and approaches, saying “feck em” to any critics of Corcoran and accompanying vocalist Pamela Connolly’s accents for example and instead embracing their roots; using them to their advantage in adding to the raw emotion to their sound.
I believe the ride that is listening to ‘In Waiting’ can best be described in the final words of ‘Harvey’ as the expansive sound truly leaves you feeling as if you’re ‘floating ten feet off the floor’. Earnest and atmospheric, claims of coming up short in the heartfelt ‘Brothers’ evidently aren’t in reference to their album as it’s an absolute beauty and I can’t wait to watch Pillow Queens flourish like their songs and take everyone by storm.
