Brian Destiny live at Oslo Hackney by James George Potter
I don’t like festivals all that much (mud, granola and hallucinogens are a very bad combination in my opinion, especially when you could be going swimming), but I missed them like hell last summer when they were a total impossibility. It’s cheering to have them coming back, albeit in a small capacity. Instead of having a quiet cry whilst reading Glastonbury According to AA Gill, we can experience festivals in person again—at least to a certain extent.
Anyone who thinks they can socially distance a mosh pit has another thing coming, however, as a socially distanced mosh pit would basically be paying to go for a three-mile run. Imagine what the aliens would think. Humanity must be a sort of never-ending Marx Brothers film to extraterrestrial lifeforms…
But never mind that, onwards to Very Important Music News. The Cambridgeshire-based indie-pop duo Collars debut EP Everything Present 1 dropped on July 16th, and it’s prime summer listening. You can catch the duo live at any number of venues across the country this summer and fall.
Lil Simz’ recent collaboration with SAULT, Nine, is absolutely unmissable. It’s the only album I’ve had on repeat all month. Come for SAULT’S signature smooth melodies and addictive beats, stay for Lil Simz’ witty, introspective raps.
Nathan Saoudi’s band Brian Destiny debuted loads of exciting new material at a socially distanced show last month. Totally Wired’s very own James George Potter went to investigate and was instantly hooked by the Brian Destiny sound, “I Wanna Be Gay,” being the stand-out tune of the evening.
Trashmouth Records have released a remix of Meatraffle’s The Horseshoe. I could write a lot about it but there’s already an article up on it, so I’ll just say it’s an absolute bop, because it is.
It’s a short column this month, as the heat is affecting my cognitive abilities. Signing off now to submerge my head in ice or to listen to Everything Present 1 again–both are equally effective ways to calm down and cool off. It’s either that or move north, and I just don’t have the patience to deal with snowshoes and the possibility of getting involved in rumbles with polar bears over fish finger sandwiches. It’s just not worth it, and I’m not going vegan again. Much like this column, life is far too short.
Yours in solidarity and Bandcamp Fridays,
Annie x
Header Photo Credit: Brian Destiny live at Oslo Hackney by James George Potter
I remember my friend John “Guppy” Guptill first mentioning the idea of Cabin Boy to me last July. What immediately stood out to me about the band was that each member was from a different area of the world. He then played me a demo they were working on, and I was even more intrigued.
In recent years, I personally feel that the emo/math rock genre has become somewhat tired. While there are many bands who pull off the style well, there are several more that don’t do anything new with the sound, leading to some aspects of the genre becoming tired tropes. That’s why when there is a band that not only improves upon the sound, but also makes it their own, it immediately stands out.
A few months after this initial reveal of the band, Cabin Boy began building up hype incredibly quickly, and they hadn’t even released music yet. The buzz was largely due to the kinetic chemistry displayed by the band’s members: the aforementioned Guppy, a bass player from Cape Cod, Massachusetts; Josh Cartwright, the vocalist and guitarist of the band who hails from Liverpool, England; and Dan Goellner, drummer extraordinaire from Berkeley, California. Meeting through an online music community, the three bonded over shared musical tastes and began sending music to one another to build songs individually—a perfect setup during the pandemic.
Recruiting producer Max Mayman, who Guppy has described as “the secret fourth member of the band” and who Dan met at a concert in California, the band debuted their highly anticipated first single, “Falcon Brunch.” Released on February 14th, 2021, the song was a smash hit and received raving reviews from fans; it is truly a gem. Featuring bright, jangly guitars reminiscent of 90’s power pop, the song kicks into gear once Dan’s confident, upbeat drumming and Guppy’s melodic bass lines come into play. Josh’s voice is interesting as well; it sounds effortless and carefree, while also carrying an emotional weight that feels natural. The song bounces along, and even during the instrumental break in the middle, which features some gnarly finger-tapping, it remains unpretentious and fun.
The single proved that Cabin Boy could take their lively personalities and instrumental talents and turn them into something great, despite thousands of miles being between them. They did this so well that a few months later, they signed to notable emo label Flea Collar Tapes on May 16th. Shortly after this big news, they also released a music video for Falcon Brunch. A visually stunning affair, the video utilizes green screens in an incredible way, courtesy of Dan. Each member’s charm and charisma are on full display throughout the video, and it is a joy to watch.
The wave that Cabin Boy were riding grew in June when they released their follow-up single, “Tokin’ Tree,” on the 19th of that month. The song starts with jagged acoustic guitar chords and passionate vocals from Josh. After a little under a minute of this, the electric guitar, bass, and drums burst onto the scene ferociously. The song features a far more distorted, darker sound, but the punk ethos of Falcon Brunch is still there in the undertow. Dan’s drumming is crazy on this track, highlighting how great of a drummer he really is. Overall, the song shows a remarkable maturity in the band’s sound, and it’s only their second song.
Cabin Boy hit a new high when renowned music critic Anthony Fantano reviewed the song and praised it. This, combined with their record deal, indicates a remarkably bright future for Josh, Guppy, and Dan. Despite the distance between them, they have proven that great bands can conquer all odds to make amazing music. Their unique energy and uplifting personas are sure to continue to win over music fans far and wide, and hopefully someday, we will get to see them come together and perform.
The latest installment in Trashmouth Record’s 10th anniversary celebratory series of releases is a remix of Meatraffle’s ‘The Horseshoe.’
Trashmouth Records, an independent label run by brothers Liam and Luke May, is South London’s equivalent of Muscle Shoals’ Fame Studios. The Mays recorded, engineered and produced the debut records of incendiary artists such as Madonnatron, Warmduscher and the Fat White Family. In the label’s own words: “Trashmouth produced and released records by bands that no one else would touch with a 10-foot pole and not only lived to tell the tale but proved to have been visionary in their blind faith.”
“Trashmouth Records – 10 Years Still Not Dead” marks the 10th Anniversary of the inception of the Trashmouth Experiment and features remixes of some of the label’s favourite tracks and artists…”
Meatraffle, photographed by Lou Smith (@lousmithphoto)
In the words of Meatraffle ringleader Zsa Zsa Sapien: “Happy anniversary to Trashmouth, the label that gave birth to Fat White Family, Madonnatron, and most importantly, Meatraffle. The magic of Trashmouth is its vision and ideology and that ideas always prevail over ability and craft, that’s why they saw something in us that we didn’t even see!”
“You gotta love Trashmouth…the greatest small label out there, shamefully written out of the South London scene history books by bandwagonist music journos.”
“Trashmouth is run by Liam and Luke (The May Twins) who are free from any nasty sexual diseases, really softly spoken and polite…and will be permanently saluted by us, forever grateful. All hail the cult! Death to false indie!”
Join the infamous label in celebrating ten years of “Blood, Booze and Tears in Equal Measure…” by purchasing their 10th anniversary record, featuring remixes from their top artists, available on Bandcamp and beyond.
As the world starts to feel a bit more normal again, we’re slowly but surely getting a peek at some of the fantastic music that’s been written over the past year. With an influx of new artists, debut records and video premiers, it’s got us excited for all the fabulous live music to come.
It’s been another phenomenal month yet again for music submitted to us by our readers, so hit that play button and discover some of the most sensational tunes we’ve found.
Witch Fever
As a new era of superlative British punk-rock beckons, with the arrival of bands such as Savages, IDLES and Dream Wife onto the scene, comes the next bullet out of the gun. WITCH FEVER are Manchester’s very own screaming sensations and most definitely a force to be reckoned with. With their explosive attitude and dirty, Black-Sabbath-style licks, Witch Fever could be well on their way to seeing some of Europe’s biggest crowds come to witness.
The band have released tour dates across Europe starting early next year playing alongside IDLES, where you can be sure the unmissable lineup of Amy, Alisha, Alex and Annabelle will be kicking it where it hurts. One thing’s for sure, Witch Fever have enough attitude, talent and fetish-wear between them to make even Sid and Nancy blush.
Are you Freak N Out yet? We are at the first tantalizing single from dwi. When not playing bass with Canadian Rock band The Zolas, Vancouver-based dwi (Dwight Abell) is creating magnificent psychedelic tunes of his own for you to melt away into this summer. This new single is just the first enticing peek into what lies in store from dwi’s upcoming EP ‘Mild Fantasy Violence,’ set for release this coming September and promises even more fantastically warped and wonderful soundscapes along with otherworldly synth sounds.
The second track from their third official album, Dany Laj and the Looks take the best elements of rock, country, and pop and serve up a fruit cocktail of delectable sounds. Their quirky new single You & Me is matched equally in peculiarity by its excellent video and is a track sure to make all music fans wonder, ‘What was in that last rum punch?’ It is, in our opinion, the perfect form of introduction to the wild and wacky world of Dany Laj and the Looks. So, why not stick around and see what sonic delights the band is cooking up in their brand new album ‘Ten Easy Pieces?’
Back on our list once again, and one band who has certainly become our go-to on a hot sunny day, Hot Plastic Poets from North Carolina are essential listening. The band are back with another brilliant melt-in-your-mouth single. So grab your trunks, your towels, and your sandals, because every day spent listening to this new track is like a day at the beach. Hot Plastic Poets are helping us feel the sun on our backs, even here in rainy London.
The talent behind the wonderfully enchanting Palace Cats, Joe Doris and James Bowden, are two friends who have seen their fair share of challenges this past year with the pressures of the pandemic. Fortunately, it’s nothing the two musicians haven’t been able to transform into their beautifully dreamy soundscapes, which have won over listeners from around the world. Silky and self-produced, Sea Island Cotton features an array of soothing sounds tied together with a fabulous TR-808 groove, sure to bring a nostalgic feel wherever it goes. So, take a trip down the rabbit hole of Palace Cats, filled with friends, lovers, and polaroid pictures.
You didn’t think we could let you leave without mentioning that the astonishing Paris Youth Foundation are releasing their debut album on the 9th of July, did you? Save the date! ‘How To Ruin Your Life’ is an unmissable ensemble of hits from Liverpool’s most exciting new Indie group. The album surely delivers on all of the bits we’ve come to love about the band’s sound and more. Oh boy – you’re in for a real treat.
Spotify’s Discover Weekly is a wonderfully exciting place where you can unearth artists specifically tailored to your tastes and it is what led me to a band that has been described as “one of the most exciting young prospects in rock music.” Hailing from Melbourne, Australia, Press Club’s gritty garage-punk sound first blessed the ears of Bandcamp listeners in 2017 with the release of their single Headwreck, a hazy two and half minute anthem clearly expressing the band’s true unadulterated passion and determination that has continued to shine throughout their two subsequent albums, Late Teens and Wasted Energy.
Influenced by bands like Brand New and Hüsker Dü, the energetic and chaotic sound of their music can often be seen to juxtapose the peaceful and laid back vibe that their narrative music videos exude, an effect that is especially evident in the video accompanying Suburbia, a personal favourite of mine and their most streamed track on Spotify. The calm everyday visuals of the video create an anticipatory tension throughout that reflects the angsty nostalgia of old relationships and moving on, a feeling that I am sure many can relate to. Lead singer Natalie Foster introduces dream-like vocals that explode into punk fervour, a technique common in Press Club’s discography, in Crash and Same Mistakes for example, and gives the band that irresistible indie edge and attracts an audience atypical to the punk genre.
The band tends to embody a kind of “go with the flow” attitude, creating music with ambiguity allowing the listener to interpret the meaning in a way unique to themselves and, as Foster revealed, deciding upon song titles and even their band name by throwing ideas around and seeing what felt right. Many of Press Club’s songs do, however, deal with quite heavy topics enabling an emotional connection to form between the band and the listener over similar shared experiences. Twenty-Three, the concluding track to their Wasted Energy album, for example, discusses topics such as drugs and how you can’t hide from your actions.
As a band notorious among its fans for delivering loud, atmospheric gigs and tirelessly touring around Australia, Europe, and the UK, racking up a huge number of shows in the last few years, Press Club should 100% be at the top of your “bands to see live” list. They will not disappoint.
Will Orchard is one of the most astonishing musicians of recent years. Originally hailing from the state of Rhode Island, he began making music in 2014 under the strange and immediately eye catching moniker “LittleBoyBigHeadOnBike.”
Armed with nothing but an acoustic guitar, he released his self-titled EP on December 30th, 2014. However, he did not even come close to slowing down there, proceeding to release an EP every week from December 30th, 2014 up until 2016. To date, he has amassed over 100 releases under his belt.
Most of these EPs contain sparse, plaintive songs featuring Will and his acoustic guitar. However, other EPs feature instruments such as bowed guitar and keyboard, as well as guest vocalists.
As he put out more and more music, Will also began to cultivate a following by playing live frequently. Although he started out hovering around Rhode Island and Massachusetts, by the middle of 2017, he was venturing out to states such as North Carolina, Pennsylvania, and Virginia.
Around this time, he began to update and remodel the music that he released, recruiting other musicians to help him round out his ideas. His official debut album, God Damn Wonderland, came out on June 23rd, 2017, and contains some of the most beautiful and unique music to date. While the sounds and styles of his previous works still dwell in the undertones of the album, they have been augmented with atmospheric yet personal production, as well as a wide variety of instruments including banjo and clarinet. The album truly catapulted Will into a league of his own as a musician, displaying his knack for crafting intricate melodies and nostalgic lyrics that emit an almost childlike sense of wonder.
The touring became even more constant as Will and his band canvassed the country multiple times every year. What makes this even more shocking is that Will did all of this independently; there was no record label backing him. Even more mind blowing is the fact that during this time, Will joined another band, The Brazen Youth, as their touring bass player, meaning that he then went on even more tours. The Brazen Youth have also done well for themselves, even playing a coveted set on Audiotree.
Following the release of his debut album, Will continued to release self-recorded EPs as well as two other albums, 2018’s Big Blue Butterflies and 2020’s Old Friends On The Mountain, the latter of which was the first album released under his own name rather than LittleBoyBigHeadOnBike. Both of these albums were very well received by numerous indie publications as well as his audience.
Despite the pandemic, Will has stayed productive: he has played on numerous live stream concerts, signed a record deal with Better Company Records, and released a new album, I Reached My Hand Out, on May 7th, 2021.
Will Orchard live at Askew in Providence, Rhode Island on November 9th, 2019. Photo by Jack Downey
The good news is that Tuareg rock n’ roller MDOU MOCTAR’s magnum opus Afrique Victime debuted at the end of May, and my God! I’ve been absorbing it like a thirsty sponge. Rock n’ roll is alive and well—but, contrary to popular belief, it’s not inhabiting the form of Maneskin. It’s in the form of Mdou Moctar.
Mdou Moctar and his band performing tracks off of their recent album, “Afrique Victime.”
The bad news: I spent the past week conducting a sonic experiment that pretty much blew up in my face. In an attempt to learn to like some of the light, cloying varieties of pop music currently saturating radio airplay these long summer days (and nights), I bought myself a copy of Lou Reed’s Metal Machine Music. It’s a record belonging to the “noise/drone” genre, sandwiched in the musical history books in between the engineering mess Bowie made of the Stooges Raw Power and the first Dead Boys album.
But, the roaring, keening, banshee shriek of machines must have been the balm of Gilead my troubled soul needed, because my plans to turn my musical taste away from Funhouse-era Stooges and towards Ariana Grande backfired. I think…I think I’ve fallen in love with Metal Machine Music. What was basically an attempt to be a better friend (you can only moan so much about your friends’ party playlists before they stop inviting you to the aforesaid parties) absolutely backfired. I now have even less tolerance for Ari than I did before. Merzbow, here I come.
Anyway, in other Very Important News, last month L.A.-based punk band the Linda-Lindas signed to Epitaph Records. The band (an all-girl, Asian American and Latinx quartet composed of sisters, cousins and friends–the oldest member of which is 16, and the youngest, 10) recently caused a stir in the alt scene with their righteously angry single “Racist, Sexist Boy” (drummer Mila de la Garza explains the song’s origins in the video linked below.)
The Linda-Lindas, live at the L.A. Public Library.
HINDS are embarking on a tour of the USA this September. It’s 22 glorious days with Future Islands and Modest Mouse, and if any of my American cousins are reading this, go bless yourself with tickets. For those stuck on this side of the pond, Hinds are making the trek from sunny Spain to the constant drizzling rain of this angry little island in 2022. I’m sure tickets will go with the speed of a cheetah taking down an antelope after a weeklong juice cleanse, so be sure to snap them up as soon as they go on presale.
Ana Perrote of Hinds shot by @neelastica.
Squid (a band originally hailing from Brighton, but currently working from London) released their full-length debut, Bright Green Field, last month. It’s received a deluge of worthy praises, and I’m more than willing to add to them. Some have described the band’s style of playing as punk-funk, and others say it’s post-punk.
(I don’t know why they say post-punk, because Squid’s signature sound is very much rooted in the present. And aren’t we all? Unless, like Billy Pilgrim, some of you lucky stiffs have become “unstuck in time,” we’re all here in 2021, in the midst of a pandemic, passengers on an increasingly hotter spaceship Earth and members of an increasingly unhinged so-called society.)
But we have music, and good music is a balm for suffering in a way that alcohol and therapy can never hope to touch. So thank you for the new albums—to Mdou Moctar, the Linda-Lindas, Squid and all the other musicians slogging it out on the battlefield of expression for their art.
Billie Marten has returned with her third album, Flora Fauna. Back in January when its release date was announced, I immediately called dibs on writing about this record. After stumbling upon Billie’s music through the wonders of Spotify around this time last year, I have been fully captivated by her ever since. Euphoric and otherworldly, her music is the embodiment of stepping into a stray patch of light where the sun managed to peek through.
With a two-year gap between Flora Fauna and its predecessor, Feeding Seahorses by Hand, I fully believe that it was well worth the wait. Each song is masterfully crafted with an almost entrancing sort of magic that envelops you in a warm embrace. With a voice comparable to silk, effortlessly gliding through the soothing instrumentals of each track, a moment of bliss is promised the second you press play.
“Garden of Eden” was the first track unveiled to the public, and it is—without a doubt—one of my favorites. Everything about it is utterly stunning, but do not even get me started on that chorus. It’s one that makes you feel truly alive and elated to be so. Evoking feelings of freedom and contentment, this track has been on repeat. I mean, can you blame me? Absolute goosebumps.
“It’s about the competition to grow and constantly be better, about how we all desperately need to be fed and watered and given space to thrive, and yet we’re so subscribed to this idea of pushing and evolving that we’re not actually doing the living part.”
“Creature of Mine” and “Human Replacement” were the other two tracks revealed prior to the release of Flora Fauna. Both of these songs are divinely rich and mellifluous, and although they bear different musical qualities and approaches, they complement one another magnificently. Out of the two, I would choose “Human Replacement” as my personal favorite; the lyrics, the band, the melodies… everything.
The meaning behind this track is significant as well. Shedding light on a devastating reality, Billie emphasizes just how unsafe every little task can be for women. Her impactful words have a thunderous music video to match, and I strongly encourage you to give it a watch.
You’re just not safe in the evening
Walking around
You could be taken
You’re just not safe in the evening
No room for doubt
Human replacement
“Ruin” is another show-stopper. I’m obsessed with how the instruments interact with each other in this song, going from somewhat of a playful riff in the verses to a brilliant explosion in the chorus. It’s an extremely clever arrangement that undoubtedly serves its purpose in telling the story lyric by lyric. On that same note, these lyrics are incredibly compelling as Billie expresses her personal struggles with self-love.
“If I spoke about another person the way I do about myself, it would be horrific, it would be bullying,” the young singer confessed in an interview with Independent. “I was really not good on tour. I was so tired and cold all the time and couldn’t project my voice.”
The album in its entirety is mystifying. Each individual second in every song dances into one another so intricately, it’s impossible to only listen to one. With additions like “Liquid Love” and “Walnut,” why would you, anyway? This is a record you genuinely want to take the time to appreciate in full.
Like what you hear and live in the UK? You can catch Billie Marten on tour later this year, so grab tickets while you still can!
God, I can’t believe I’m writing this but, a whole ass DECADE has passed to the day since Matthew Murphy (Love Fame Tragedy), Dan Haggis (Dan The Man), and Tord Øverland Knudsen, better known together as the iconic indie band The Wombats released their second full-length LP; This Modern Glitch. To this day one of the most interesting drops of an indie band who rose to fame in the late 00’s because of the left turn it took. Now I’m not saying it’s as sharp a turn as something like Radiohead’s Kid A was to OK Computer, but This Modern Glitch completely reinvented The Wombats sound at one of the strangest periods for modern music. It was 2011, around the time where pop music was changing completely, four on the floor beats, synth-ridden hooks, and the age of the pop ‘band’ was on its way out. So what does a Liverpudlian three-piece do for their next outing? Drop one of the coolest follow-up records of all time, that’s what.
This Modern Glitch takes that raw indie rock outfit from the band’s debut album, and polishes it off, wraps a layer of divinely played synths, and just dial up the wow factor to 11. Kicking off with Our Perfect Disease, slapping you straight in the face with this new synth focused style right off the bat, in fact, there’s no guitar until about 44 seconds in, and further yet there are no LOUD guitars until after a minute of playtime. It’s there with the vocal hooks and spunky guitars that the resonant Wombats sound comes out to play, and as the song progresses the signature twangy Bass tone from Knudsen gets thicker and heavier, and Murph’s guitar gets thrown about in your face more. Somehow it’s the perfect evolution from A Guide To Love Loss And Desperation, and as soon as it’s done the absolute anthem that is Tokyo (Vampires And Wolves) kicks off.
Tokyo is the perfect track for any party, lord knows any piss up I’ve been to hasn’t been complete without blasting this on full singing along to our heart’s content. The intro synth riff, the pulsating bass and the thumping drums carry this song straight into the aether. If you’re new to the sound of The Wombats, Tokyo is a brilliant starting point to get you hooked.
Jump Into The Fog slides right in next and acts as this slower but still effortlessly gorgeous power trip. Again combining the sounds of synth-led pop with the indie structure we’d already grown to love since the marsupials debut album back in 2007. Jump Into The Fog leaves you in a trance for 3 minutes and my god is it wonderful. It manages to pull off this wonderous mixture of texture and dynamics and is only heightened in a stripped-back setting like so. After being an epic synth led song, and now working as an acoustic rendition, swapping lead synths and guitars for cellos and pianos and reinventing the vibe to their own song? Absolutely majestic.
1996 is a weighty synth thumping beast of a tune, acting as the physicality of the themes within the track talking about the horrors of the modern world, longing to go back to the days of 1996 after not being “cut out for the modern life”. It’s the kind of song you just wanna drink and dance to and not have a single care in the world. The Wombats have perfected the danceable sad song and they make no exceptions here. You may feel like you’ve slowed down time, but if you’re soundtracked to The Wombats, you don’t have to worry about a thing.
This Modern Glitch is filled with delightful surprises such as the U-Turn that is Anti-D. A softer sentimental track, proposing the idea that this person could be your anti-depressant. Twinkled with violins that take you back to the days of brit-pop, but with synth under roots that ground you back to The Modern Glitch of life you’re in. Other brilliant tracks I have to gloss over sadly otherwise we really would be here all day, are the sparkly spotlights of Last Night I Dreamt… No no not The Smiths song. This track talks about someone having an epiphany after having a dream that they very bluntly, died alone. Which is fair enough, to be honest, hope you’re good Murph.
Girls / Fast Cars is a brilliant no-nonsense song, brilliant for any sort of workout or when you need to run for a train. I’ve tried it with both and it works, just try not to sing it out loud and look like a lemon at a knife fight in the bowels of Blackfriars station… Definitely more one of the more traditionally rocky songs of the album, but still matched with the synth-tastic sounds of 2011 and feeling right at home among the tracks of This Modern Glitch.
Techno Fan is a song I think everybody relates to at some point in their life. You stay away from something your whole life convinced it’s “not for me darling”, only to find yourself slap bang in the middle of a club moshing to something you’d never heard of before, or you know whatever it is you’ve avoided… It’s a cheerful, bright and spanky song that asks you to “move with me or get out of my face”. This song gets going and if you’re not on board it will sail on without you, and you’ll have to catch it again from the start because it’s got a motive that requires you to pay attention. It’s a phenomenal feeling and you just have to ride this train.
There’s so much identity within this album and so much nostalgia I associate with it and with this band. This Modern Glitch did the hard thing of adapting an indie band to the turn of the new decade, but it blended the two perfectly and without it, we surely wouldn’t have got any of the brilliant work from Murph, Dan, and Tord throughout The Wombats’ musical career and their own solo discographies.
The perfect summer album to play when the world feels wrong, and after the year we’ve had, with things looking up on the uncertain horizon, perhaps This Modern Glitch is what we need all over again.
Listen to This Modern Glitch (10th Anniversary Edition) on Spotify now. Presented proudly, 10 years running.
As the sun leans in closer for a warm embrace and Mother Earth takes her first steps towards revitalization, the time has come to celebrate spring’s long-awaited arrival. So, what better way to welcome it than with a brand new release that is so beautiful, it’d make even the most gifted of songbirds envious?
Chase Cohl’s EP Dear Dear: Volume I is absolute euphoria. Consisting of four tracks, it embodies a similar feeling to surrendering your skin to the divinity of sunshine; it is nothing short of pure comfort and invigoration. This was my first proper introduction to the enormously talented singer-songwriter who also explores the worlds of fashion and poetry. Hearing these songs for the first time felt like coming home after a long and tiring journey, intoxicated with the pure joy of being right where you want to be.
Dear Dear begins with “Special Situation,” a song so blissful and pleasing to the ears, it’s only right to stick around for more. The backing harmonies paired with the flawless intertwinement of Cohl’s voice and the dreamlike, vintage instrumentals make this song an undeniable winner in my book. If you’re in search of a song to dance along to with a glass of wine, look no further.
Track two, “Take It Like A Man,” took on the role as the EP’s single, and it did its job phenomenally. It’s what I had first heard from Cohl while aimlessly scrolling through Instagram just mere days ago, and I knew right off the bat that I needed to write about her. After (very quickly) falling entirely entranced by the song’s colorful, 1960s-inspired sound, I genuinely could not get it out of my head. Watch the music video here!
“Still Crying,” despite bearing somber lyrics about the woes of break-ups, carries a playful and bright tune. The back-and-forth between Cohl and the backing vocals throughout the chorus is truly satisfying and addictive to listen to. On top of that, its bridge dips into an enchanting pool that lulls you into a brief daydream just before getting right back into the song’s upbeat magic once more.
The fourth and final track, “I Can’t Live Without You,” just might be my favourite. It paints an image in my head so effortlessly, I can easily see it as the score to a montage in a film. Despite it being the EP’s shortest song, it possesses so much beauty and airiness that you pay no mind to its duration. It strikes something deep within me that is impossible to shake, and to say I adore every single aspect is an understatement.
In short, this is one masterpiece of an EP. Elegance and perfection can be heard all throughout, and because I am a newer listener, I will most certainly be taking a dive into more of Chase Cohl’s material (and you should, too!).
To stay in the loop, be sure to follow Chase Cohl on Instagram and Spotify!
