In just 6 months, Eavie (better known as) Eaves Wilder has managed to produce frantic fairytale sounds to fill your very best indie playlists. Being a Gen Z artist, the way our generation has grown up with music is so chaotically different from the likes of our inspiration. We genre mix and we dabble between artists and sounds which makes for such a clash of sounds that’s really paving the way for the next wave of music, and Wilder is absolutely no exception.
So how would I describe her music? Imagine putting the DNA of George Harrison, Kate Bush, Beabadoobee and Blur into a blender, then serving that milkshake up along with a sprinkle of toppings to coat all that with even more, and if you’re a fan of the darker sounds of pre-The 1975’s ‘Drive Like I Do’, then Eaves Wilder is someone for you. But being so young and having experienced so much, Eavie brings a flair of unique excellence that just melts your ears. Her debut single Won’t You Be Happy written in the height of the first lockdown, and was an immediate hit, the emotional range and relatability here was off the scale and was the right step to make Eaves Wilder soon to be a household name.
Later still she dropped the single In And Out (And Out Again), a beautiful piano-led ballad that envelops more of that shoegaze vibe that was so present within Won’t You Be Happy. One thing to note is her talent as a pianist, being able to sing and perform precise twinkling key rhythms is not something you see often (see the live piano performance below), especially among young songwriters nowadays. Eavie manages to be a breath of fresh air and a staple to the term ‘Artist’. You get a real feel for Wilder’s passion for her music and it’s wonderful to see out in the Eaves Wild…
But there’s no slowing down for Eavie, she’s on an upward spiral and we’ve all got golden tickets to join the ride. Just last month we heard another single Man, We Was Lonely (a little ode to everyone’s favourite Beatles bassist), with perhaps the charm of Arcade Fire’s Funeral as inspiration, particularly vibing with the vocal tones of Régine Chassagne. Three songs into Eavie’s career and already she’s making a name for herself, making dreamy songs to soundtrack your teens and my god does it make you crave to hear these tracks in a live venue.
Eaves Wilder is making her way to the top, so what better a time to grab her hand and follow her to the summit of her musical venture. 6 months since her debut and only 3 songs in, but already she is one of my favourite rising stars that you must keep up with.
So don’t forget to keep a keen eye on her socials and follow Eaves Wilder on Spotify.
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.
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.
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.
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.
I’m here with the band who have come to tell us a bit about them, their new single and how this all came to be.
J: Hey guys! Great to speak to you, so for those who haven’t heard the music of F4ÇADE, introduce yourselves and tell us a bit about you and your music.
Angel: Hiya, we describe our sound as ‘Art Wave’; New Wave meets the art world meets the future..?
Henri: Yeah, and we’re inspired by lots of things, including romantic poetry, the surrealist art movement, David Sylvian, David Bowie, Dave Gahan – lots of Davids!
Angel: And David Byrne! Hahaha oh dear…
J: It’s great to hear how your sound has changed and developed since the band began, this new single feels different from your earlier stuff, tell me a bit about how this song came about.
Angel: I wrote this around the time I dropped out of Camberwell Art College. It’s kind of about being an outsider to those who have everything planned out for them and those who do things just because others do – usually my lyric writing is a bit more vague!
Sacha: This was the first song that me and Lani worked on just after we joined nearly a year ago. Our writing process is collaborative and I suppose we just fleshed out the demo in our own individual ways. My background is Jazz music and although you can’t really hear that on the record, my playing has developed through certain influences which has led to the sounds you hear on the track.
J: How have you been experimenting with instruments or your production techniques with this track? Has it been difficult or strange recording during lockdown?
Henri: We actually recorded this track in a studio January before the lockdown! But during lockdown we recorded a cover of ‘Tainted Love’ for fun, which we released a couple of months ago – We all recorded our tracks in our own houses and then sent the files to each other, which I then mixed and mastered. Pretty weird!
Lani: We had a lot of fun experimenting with instruments, especially as playing the fretless bass is relatively new to me so the whole thing was super fun. Once we finished recording all the track we had in mind we realised that we actually had some recording time left so we scrambled around the studio looking for some weird pedals to create a small hidden track for us to release another time. We found a Moogerfooger bass pedal and decided to use that to create some strange sounds. Everyone said ‘Alright Lani just fiddle around and Sacha will mess around with the pedal’. And we ended with this really strange almost robotic bass tone, it was an awesome time.
J: This year has been hard for almost every band, but how has it affected you guys and your creative process? It’s a shame it may be a little while longer before we can see this played live.
Angel: A big part of F4ÇADE is playing live!! We have met so many amazing people through gigs and it felt like we’d really started to progress. We had an ‘arty party’ gig at an amazing private art club called Vout-O-Reenee’s just before lockdown – anyone who remembers would agree that was a crazy night…
Henri: We’ve actually got our first post-lockdown gig coming up really soon! It’s on the 4th of October at Dalston Roof Park and we’re really excited to be able to play live again, it’s going to be so fun!
J: What’s been the most rewarding thing about being in the band together and your music so far?
Angel: Sacha drawing on a Salvador Dali moustache and insisting on a ‘pizza party’ on the night of the video shoot.
Sacha: We recorded this song just before lockdown and it’s been frustrating having to keep music that we’re so proud of under lock and key. It’s a great feeling to be able to release it into the wild.
Lani: The most rewarding thing for me about being in the band so far has been all the awesome opportunities, whether that’s playing gigs or recording music in the studio. Being in the band has also opened my eyes to some different styles of music that prior to being in the band I wouldn’t have listened to. And you also meet a lot of lovely peeps!
J: We loved this track and we’re dead excited to hear more! Can you give us any hints as to anything that may be on the horizon for the band?
Henri: All I’ll say is, we recorded more than one song in the studio in January…
It’s so rare to find a proper up and coming artist to really dig into, but god am I glad I found Maya Delilah. For fans of Sycco, Her’s, Gus Dapperton, Clairo and The 1975; Delilah is someone you absolutely must get familiar with. Her debut EP Oh Boy was released at the start of July, a smooth, lofi, chill pop EP that just makes you wanna bathe in the sun and forget about your troubles, and experience the inner thoughts of Maya’s wonderfully playful world. 6 tracks of pure majesty, with phenomenal production, elements that sound inspired by Tame Impala, crossed with John Mayer adding the soundscape of Her’s baked into the musical pie that is Delilah’s Oh Boy. And the even better news? She’s already been teasing snippets from her second EP, yet to be officially announced, but damn does her new material sound just as slick as the songs on Oh Boy and I am genuinely ecstatic for it.
The fabulous video for her song I’m Just Stupid was shot from home during quarantine, and to help make the video, she asked fans to send in drawings to feature in the video, and as you can see, she got a LOT of drawings, which is a wonderful thing for an artist to do to engage with their audience, and something I sincerely hope she doesn’t grow distant from as time goes on.
Maya’s silky voice serenades you throughout the EP, taking you on a journey that just takes your breath away, which is ironic when you consider the title of the closing track, Breathe Easy. Delilah manages to blend such familiar sounds in such unique ways that make it feel like such a fresh sonic experience in the abundance of soundcloud and bandcamp chill hop artists looking for homes within your music libraries, Maya defies this, spreading a bubbly narrative of her life. Her songwriting ability is absolutely killer too, catchy hooks and riffs that just cut right through the mix, melodies that you just cannot get out of your head, it’s infectious. Not to mention the fact that she’s a ridiculously talented guitarist, with the comparison to John Mayer mentioned by fans on multiple occasions. I mean just listen to the solos in I’m Just Stupid and Breathe Easy and try to deny it. You can’t. It may be bold to say, but it’s true and that’s the tea sis. She even managed to write and release Safe, a quarantine inspired track back in March, so power to you.
She was featured on an artist spotlight for Marshall and it’s there where you really get a vibe for who Maya is, and you really start to see from the music she grew up with and how it’s moulded her style. It’s brilliant to see young musicians buzz with genuine creativity, who really know their stuff, appreciate the cultures and genres they’ve been introduced to, and be able to experience the glee that is their talent, not in uptight way, but to really see them have freedom and crucially, fun and enjoyment in their own music, all the while staying humble. Honestly it’s crazily inspiring. She also delves into how she started writing, and like we’ve seen with the likes of Georgia, shows how these days you don’t need to know a guy who knows a guy who knows a guy to get signed and get your music out there. You can carefully craft your art at home, or as simply as singing and soloing over looped chords from a Boss Loop Station, you can build a following through apps like Instagram and TikTok. You can use your art and your passion and make a career out of it, and it’s wonderful to see.
She’s also been doing a fantastic job at inspiring young girls to pick up a guitar and get into music, utterly proving that girls can rock a guitar just as well as the boys thank you very much. Give Maya a guitar and a looper pedal and she could inspire anyone for hours, there’s just something so present about the way she writes, plays and sings her songs that can’t really be described. Whether it’s the relatable lyrics from waking up wondering where your cat is, to ignoring what others think about your relationship because you know it’s right.
Delilah is an absolute delight, and you’re a fool to not listen to her music and keep tabs on when more is due to arrive to melt our ears. You can follow her on Spotify, Instagram and even TikTok (@mayadelilahh) where you may even get a sneak preview of upcoming songs such as Moonflower.
Maya Delilah leaves you wanting more, and gives you this floaty optimistic feeling. Someone who really knows and has perfected their craft already at such a young age, the future for Delilah is going to blow up and we can’t wait. A hidden gen Z gem that you’re sure to revel in.
Top tracks are I’m Just Stupid, Tangerine Dream, Gato, URU, Breathe Easy and Safe.
If you’re not listening to Maya Delilah, then Oh Boy… are you missing out. I leave you with the music video for her EP’s closer, Breathe Easy and just see for yourself. An upcoming artist that is not to be reckoned with.