Each Friday, Atwood Journal’s workers share what they’ve been listening to that week – a track, an album, an artist – no matter’s been having an impression on them, within the second.
This week’s weekly roundup options music by Glass Animals, ILLIT, Ananya, Daniel Ellsworth & The Nice Lakes, Grace Annabella Anderson, Trestles, Fime, Siichaq, HOLYMAMI, The Moss, Planet of Souls & Lily Papas, The Marigolds, Harlequiin & NYM, MORN, La Raca Flaca, & Drauve!
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comply with WEEKLY ROUNDUP on Spotify 
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:: “Vampire Bat” – Glass Animals ::
Mitch Mosk, Beacon, New York
You can’t stake this one via the guts – primarily as a result of it’s already pulsing in my veins. “Vampire Bat” sinks its tooth in from the very first beat – all slick bass strains, supple grooves, and that inimitable Glass Animals alchemy of surrealism and seduction. It’s a monitor with fangs – and the extra you hear, the deeper they sink in.
Peter Piper picked a pickled pepper and he went off
Butcher, baker, candle maker thirsty for the ability
Bouncing ’around the room with a supersonic blaster
Consuming up the doom because the clock is ticking quicker
A kiwi is a cross of a strawberry and a lime
So detuned that the reality is a good line
Giving titty twisters such as you’re caught in 1999
Ate what you fed me, poot, poot, it’s a gold lime
Launched August 8th, “Vampire Bat” is the British band’s first authentic track of the 12 months (following a string of remixes this previous spring) and the fifth installment in Glass Animals’ ever-experimental Contemporary Fruit sequence – a playground for collaborations, sonic curveballs, and frontman Dave Bayley’s most uninhibited bursts of creativity. This time, he’s teamed up with Rob Bisel (SZA’s producer and Kendrick Lamar’s engineer) to whip up a lush, scintillating groove that blurs the strains between warmth waves and hallucination.
Lean again similar to that
Push me down, make me try this dance
Oh, squeeze that, no extra fingers
Bit my lip like a vampire bat
Now lean again similar to that
Push me down, make me try this dance
Oh, squeeze that, no extra fingers
Bit my lip like a vampire
“Vampire Bat” is as fiery as it’s enjoyable, with its dreamy, quirky manufacturing recalling the sounds of 2016’s The right way to Be a Human Being. As he did all through that album, Dave Bayley laces the brand new monitor with colourful non sequiturs and sly cultural nods (“A kiwi is a cross of a strawberry and a lime, so detuned that the reality is a good line”), letting his phrases toe the road between absurdist whimsy and pointed commentary.
It’s playful, however there’s chew beneath the new sugar. The chorus (“Wager you are feeling like a rock star, don’t you now? I do know you get off each time you get me down”) lands with a crafty edge, turning swagger into one thing extra sinister. Rob Bisel’s co-production retains the ambiance humid and heady, layering textures that shimmer and sway with sweaty brilliance.
Wager you are feeling like a rock star, don’t you now?
I do know you get off each time you get me
Down like a rock star gone too far
You bought us all residing on a seesaw now
Like a rock star, don’t you now?
I do know you get off each time you get me
Down like a rock star gone too far
You bought us all residing on a seesaw now
Even at its most cryptic, “Vampire Bat” radiates that kaleidoscopic, deeply human allure that has lengthy set Glass Animals aside – a feverish mix of lust, wit, and technicolor pop invention. It’s a reminder that for all their eccentricities, they’re nonetheless masters of crafting songs that stick, seduce, and shock in equal measure.
:: “빌려온 고양이 (Do the Dance)” – ILLIT ::
Danny Vagnoni, Philadelphia
The viral success of Sony’s Okay-pop Demon Hunters has drawn me again right into a steady Lagrange orbit of k-pop, and ILLIT’s “빌려온 고양이 (Do the Dance)” is my moon. This monitor encapsulates what I like in regards to the style, as a lot because the sprawl of k-pop may even be neatly contained inside such a label (it can’t).
And that factor I like is anachronism. Okay-pop, not like the extremely polished and danger averse sensibility of “Western” pop (one other time period of comfort; sorry), is temporally and generically agnostic – and exuberantly so. “빌려온 고양이” (RR: billyeoon goyangi, lit. “borrowed cat”) begins with what I first mistook because the melodramatic strings of a ’70s disco traditional, or presumably an homage to Gloria Gainer’s “I Will Survive” (which, three years in the past, ILLIT’s contemporaries IVE did pattern). I used to be improper. The eloquent string pattern anchoring “빌려온 고양이” comes from “Elegant Escape,” a monitor from a 1989 mecha anime The 5 Star Tales. What a cool lineage.
Earlier than lengthy, the track leaps right into a joyful future funk love letter because the speaker pleads with herself to stay within the second and dance and never really feel like such a clumsy “rent-a-cat” round her crush. With lyrics by Huh Yunjin of Le Sserafim, the track is trilingual, one other electrifying oddity, weaving breezily from Korean to French to English. Dancefloor bass flirts with mecha anime strings, which in flip wink on the effervescent vocal performances from ILLIT. A shiny, eccentric gem for summer time listening and awkward people, “빌려온 고양이” deserves a hear or ten.
:: “Falling” – Ananya ::
Danielle Holian, Galway, Eire
Ananya’s newest single “Falling” is a shiny, emotionally conflicted slice of alt-pop that lands someplace between late-night vulnerability and dancefloor launch. Rooted within the emotional stress of catching emotions if you least anticipate, or need, to, the monitor captures the chaos of timing gone improper. Slick manufacturing threads via with a muted groove, balancing infectious rhythms towards lyrical self-restraint. There’s a refined minimalism at work right here: each beat feels intentional, each phrase edged with quiet battle. It’s pop, sure, however pop that aches slightly, that dances with a lump in its throat.
Rising out of Zimbabwe and now based mostly in London, Ananya is carving out a lane all her personal, the place confessional songwriting meets polished sonic ambition. With “Falling”, she leans into the in-between, heartache in movement, craving laced with composure. Following earlier releases like Feelings and All That Glitters Isn’t Gold, this monitor seems like an announcement of inventive readability. It teases a brand new period in her evolution, one marked by restraint, groove, and a willingness to let uncertainty sing. If that is the primary style of her 2026 EP, Ananya is setting the emotional temperature excellent, simmering, soulful, and not possible to disregard.
:: “Preserve It Cool” – Daniel Ellsworth & The Nice Lakes ::
Chloe Robinson, California
Daniel Ellsworth & The Nice Lakes funk-fueled monitor “Preserve It Cool” examines the backwards and forwards between craving and self-control. The piece captures an intense longing whereas striving to keep up an informal, easy façade. The sultry, soulful vocals paired with vibrant, catchy sonics make this launch a shiny and alluring hear. The band shared in regards to the single, “’KEEP IT COOL’ is an unreleased monitor we pulled from the DE+TGL vault. It didn’t fairly match on the album, however we had a lot enjoyable making this one we didn’t need to simply let it sit on a tough drive amassing mud.”
“Preserve It Cool” is off of HIGH(er) LIFE – the deluxe model of their album HIGH LIFE. The indie rock outfit was fashioned in Nashville however is now unfold throughout the nation. The magnetic trio is well known for his or her electrifying performances, soul-searching songwriting, and an offbeat captivation that’s not possible to disregard. “Preserve It Cool” possesses that very same irresistible allure.
:: “Love Potion” – Grace Annabella Anderson ::
Josh Weiner, Washington DC
“The metropolis is sizzling” is likely one of the lyrics of this track that caught my eye – it’s going as much as 95 levels in Boston on the day that I write this – however what actually commanded my consideration was the critically unbelievable vocal efficiency by main woman Grace Annabella Anderson of New York Metropolis. Her singing is completely complimented by the intense, uplifting beat by Thomas Dulin, who produced this nice work out of The Planetarium studio in Nashville.
The track’s lyrics largely speak in regards to the “Love Potion” referenced in its title taking impact– “You’re mesmerized, you’re all I wished” and “I’m studying my maps, they lead me to the middle, the center of you” serving as examples of stated results. Anderson has an intensive background in each singing and poetry, and the outcomes of that coaching are readily seen on a single like this that impresses on each the lyrical and vocal entrance. Her catalogue is proscribed to at least one EP and a pair singles in the intervening time, however songs like “Love Potion” exhibit that she has the aptitude to take her physique of labor to larger, extra dazzling heights.
:: “Bones” – Trestles ::
Julius Robinson, California
Santa Cruz’s personal seaside rock undertaking, Trestles, pays homage to the West Coast storage rock roots. “Bones” is a single that blends deep nostalgia with a contemporary, fashionable edge. The lyrics paint a vivid image, immersing us within the coronary heart of nature. Strains like, “I simply need to see, the rising son towards the timber,” craft a shocking and tranquil scene. Listeners soak in the fantastic thing about the wistful melodies and soundscapes that really feel beachy and shiny.
Trestles, forming in 2021, consists of Hunter Kelly (vocals/guitar), Sophia Wall (bass/vocals), Jackson Jones (guitar/vocals), and Malena Clark (drums/vocals). Mixing the timeless allure of Sixties musicianship with the uncooked vitality of recent storage rock and catchy pop parts, the band creates a sound that’s completely irresistible. “Bones” is a monitor crammed with profound layers and with every hear you can be increasingly entranced.
:: “Mushy Science” – Fime ::
Mitch Mosk, Beacon, New York
Fime’s “Mushy Science” begins like a spark in the dead of night and ends in full-on eruption – a four-minute shapeshifter that smolders, builds, and bursts with out a trace of compromise. Fime’s newest single is molten and unrelenting, shifting from embers to inferno as vocalist Beto Brakmo belts, “Within the second, in the course of the evening, I noticed a rattle round, I noticed the spark of a lightweight…” It’s aching, visceral, and cathartic in that approach the place the burn virtually feels good, leaving you stranded in its depth even after the final be aware fades.
Increased training
Ain’t no one’s idiot to suppose I
By no means wished to vary
Discover a approach to get right here
Discover a experience to high school in hopes
of federal minimal wage
All the time reassured
however very seldom self-reflective
What sort of youngster would you elevate?
Standing on the river
Laying on the bottom
I feel that water can’t clear your age
“I feel the track offers with attempting to know your self within the fashionable world,” Brakmo says. “I named the track ‘Mushy Science’ as a jab as a result of whereas I respect and suppose the world of psychology is basically good, the solutions to your issues are really unknowable… For all we write down, study, and check, we’re simply people attempting to drag solutions from an answerless void. But in addition, I simply thought that the phrase ‘Mushy Science’ was actually lovely sounding.”
Increased training
All the time performed the idiot to suppose I
Really wished the change
Day-after-day we get right here
Each time we noticed the brittle
Damaged components of my cage
I picked the improper highway
I picked the one that I believed I’d be
I picked the improper life
Did I select it or did it select me?
“Mushy Science” is a standout from the band’s forthcoming sophomore album Simply Can’t Win (out September 5) – their heaviest, most thematically charged document but. Rooted in LA’s indie punk underground and impressed by bands like Rilo Kiley, Militarie Gun, and Guided By Voices, Fime channel each desperation and launch right here, their melodic fuzz and existential crunch touchdown like a intestine punch earlier than hovering into the evening.
It’s a track about wrestling with your personal unknowability – and discovering energy, or possibly only a unusual form of peace, in the truth that you’ll by no means have all of the solutions.
Within the second
In the course of the evening
I noticed a rattle round
I noticed the spark of a lightweight
Within the second in the course of that sleepless evening
What’s in heaven?
Only a trick of the attention
A easy, ocular glimpse
Laying half-creamed eyes
In a second within the presence of that distant gentle
:: “Mission 3” – Siichaq ::
Mitch Mosk, Beacon, New York
Brooding, hypnotic, and heavy, Siichaq’s “Mission 3” sounds just like the sluggish, regular pull of a rip present – a darkish, droning tide that drags you deeper with each breath. It’s angsty various rock with weight in its bones, carried in frontwoman Kennie Mason’s bruised, aching voice and within the layered electrical guitars that cry, glitch, and pulse with a sinister warmth. There’s craving right here, and doubt, and the form of ache that comes from wanting one thing so badly it begins to bitter.
A spotlight off her recently-released sophomore album Catcher, “Mission 3” finds Mason – who information as Siichaq – at her most stripped and uncovered.
“I wrote ‘Mission 3’ about wanting,” Mason says. “Extra particularly, it’s in regards to the form of need that, in the event you chew on it for lengthy sufficient, turns into resentment… As an artist, there are sometimes lengthy intervals of ready, and people are the instances that put on me down. It bought fairly unhealthy whereas we had been engaged on Catcher, as a result of I used to be ready for mixes, masters, or the following recording dates, which had been fairly unfold out.”
“In these stretches, when there was nothing tangible for me to work on, I walked round exterior and begged, fairly actually, for the universe to provide me an indication that I used to be doing the appropriate factor, that I’d truly really feel like I’d achieved what I’d got down to do as an artist sometime. It felt ridiculous, as a result of I’m not a really non secular individual, and the universe doesn’t owe me an evidence. However I did it, as a result of it was the one factor to do.”
“‘Mission 3’ is a form of chant, I suppose, out into the void, saying: Please inform me that that is all for one thing. Please give me an indication so I do know I’m on the appropriate path. Please let me earn what I need. Please don’t depart me in the dead of night.”
Whereas Catcher as an album has been lovingly – and faithfully – described as “grungy and bleeding” by the artist herself, its third monitor takes these descriptions to the nth degree – and the wondrous outcomes. The track’s hypnotic repetition (“Please, please, please…”) turns into each a plea and a pulse, a minimalist shoegaze prayer to a silent universe. In its murky sonic world, someplace between grungy slacker rock and blown-out despondency, each be aware feels prefer it’s teetering between collapse and catharsis.
It’s the sound of not realizing if the universe is listening – and asking anyway.
:: TRAP THERESA – HOLYMAMI ::
Danielle Holian, Galway, Eire
HOLYMAMI erupts onto the scene with TRAP THERESA, a defiant, genre-smashing EP that doesn’t simply blur strains, it units them ablaze. Fusing the aggression of punk, the swagger of rap, and the distortion-heavy grit of rock and nu-metal, HOLYMAMI delivers a five-track manifesto dripping with emotion, rise up, and radical self-expression. From the unapologetic battle cry of “WOMAN MYTH AND LEGEND” to the chaotic, managed burn of “BLEEDLESS”, the EP is as uncooked as it’s electrifying. Her daring reinterpretation of 9 Inch Nails’ “HEAD LIKE A HOLE” is each homage and reinvention, laced along with her personal fury and soul, whereas “FADING” closes the document with haunting vulnerability, revealing an artist unafraid to indicate her wounds beneath the conflict paint.
What makes TRAP THERESA unforgettable isn’t simply its sonic ferocity, it’s HOLYMAMI’s capacity to channel each chaos and readability into each be aware. She’s not simply making music; she’s constructing a mythos. The EP seems like a ritual, every monitor a distinct providing on the altar of rage, resilience, and rebirth. With a voice that may snarl, soar, and seduce, HOLYMAMI has created a physique of labor that’s fearless and unfiltered, non secular and streetwise. TRAP THERESA, is a genre-bending, soul-shaking testomony to what occurs when an artist tears off the foundations and dares to scream her fact into the void.
:: “Darkness” – The Moss ::
Chloe Robinson, California
Ever really feel such as you need to give somebody your all, however have to get your feelings in test first? The Moss’ new single “Darkness” is about simply that. The radiant, energetic backdrop provides the piece a sense of hopefulness inside the self-doubt. The track supplies highly effective, expressive vocals that ooze with pure an infection. Tyke James of the band reveals, “Darkness is written as this cyclical thought, of caring deeply about somebody, however needing house from them to kind out your personal feelings.”
The band is comprised of Tyke James (vocals/guitar), Addison Sharp (guitar), Willie Fowler (drums) and Caiden Jackson (bass). Tyke infuses The Moss’ vibrant, sun-drenched sound together with his personal lived experiences and heartfelt passions. Influenced by greats like Pinegrove and Kevin Morby, they channel the same indie sensibility whereas carving out a sound that’s distinctly their very own. You’ll be able to hear that distinctive high quality within the heated soul of “Darkness.”
:: “One” – Planet of Souls ft. Lily Papas ::
Danielle Holian, Galway, Eire
With their newest single “One,” Planet of Souls, the boundary-blurring undertaking from veteran producers Paul Rogers and Tom Barlow, delivers a cinematic slow-burn that feels each otherworldly and profoundly human. That includes the ethereal vocals of Australian songstress Lily Papas, the monitor is a sweeping meditation on connection in a fractured world. Warming piano strains, swelling strings and a wealthy undercurrent of sub bass type the emotional bedrock of this ambient-electronic ballad, whereas Papas’ haunting voice rises like a flare in the dead of night, clear, aching, and unforgettable. Rooted within the emotional turbulence of current years, “One” reads like a love letter to shared vulnerability, a sonic salve for collective disquiet.
As heard on Netflix’s The Survivors, which catapulted the monitor into the worldwide highlight, “One” marks a defining second within the Planet of Souls undertaking, a fusion of craft, soul, and inventive freedom. Rogers and Barlow’s many years of expertise quietly underpin each second, not with flash however with feeling, permitting the music’s emotional intelligence to guide. The result’s a monitor that stands comfortably beside friends like London Grammar and Jon Hopkins whereas carving its personal house via Lily Papas’ intimate but expansive efficiency. Planet Of Souls isn’t only a collaboration; it’s a communion, and with “One,” they remind us that even in solitude, we’re by no means really alone.
:: “Dwelling” – The Marigolds ::
Mitch Mosk, Beacon, New York
Breathtakingly intimate and brutally weak, “Dwelling” is The Marigolds at their most uncooked – a confessional indie rock ballad that aches with the sobering sting of actual life. 20-year-old singer, songwriter, and multi-instrumentalist Lucas Mangum spills his head and his coronary heart out in waves, channeling the heaviness of melancholy and the hard-won perspective that adopted right into a track that hurts in all the appropriate methods. Musically, it sits someplace between the nice and cozy grit of Nirvana and the open-hearted punch of early 2000s pop/rock, however at its core, that is an unfiltered alt-rock catharsis.
Music has been a part of Mangum’s id for so long as he can keep in mind. “I’ve all the time felt like music was my old flame,” he tells Atwood Journal. “I keep in mind telling everybody at my kindergarten meet and greet that I wished to be a rockstar, and racing residence to set pillows up on the sofa like a drum set. I’d activate Nirvana’s Nevermind and play it time and again and over, after which slightly bit extra. That a part of me by no means modified, however virtually every little thing else has. I’ve grown quite a bit since kindergarten, which suggests I’ve needed to cope with loads of the obstacles life tends to throw at you the longer you reside.”
“A kind of obstacles, for me, was a extreme bout of melancholy my senior 12 months of highschool,” Mangum continues. “I’d by no means been an anxious or depressed individual; truthfully, I barely understood what it meant. That every one modified for me that 12 months. Issues bought actually unhealthy, actually quick, and I feel that a part of the depth of what I used to be coping with had quite a bit to do with my inexperience with this particular battle. Lengthy story lengthy, I ended up going away to residential therapy, which isn’t someplace I ever would have seen myself. I used to be away from residence for just a few months, and truthfully, for a bit there, even after I was residence I felt fairly distant.”
It was in that disorienting aftermath – nonetheless reeling, nonetheless looking for footing – that “Dwelling” first took form.
“The day I bought again from therapy, I picked up my guitar and wrote the primary track that ever meant something to me. I’d written songs via highschool, however largely simply slapped some lyrics on an enormous tacky guitar riff and known as it finished. For those who’ve heard the brand new EP, you may know what I’m getting at. The track I wrote the day I bought again residence was ‘Dwelling.’ Earlier than that day, I’d been in such a haze that I didn’t even take heed to music. This factor that meant a lot to me was fully backburnered by what was happening in my life. It sucked… Now that I used to be again residence, I couldn’t discover a lot else to do however write, in order that’s what I did.”
The track sat quietly for 2 years, a snapshot of ache he wasn’t positive he was able to share – till time, progress, and perspective pushed him to revisit it.
“That was two years in the past now, and clearly quite a bit has modified much more. At that time I used to be again residence, however I positively wasn’t all that significantly better, and I feel the primary model of the track is fairly indicative of that. So now two years later, my perspective has modified and I’ve labored laborious to get to a greater place. I’d initially disregarded the track as a result of it was too private, or some bullshit like that. I didn’t need folks to listen to it as a result of I didn’t need to inform that story. Then I used to be trying via previous demos just a few months in the past, got here throughout it, and realized that there was one thing there. I took the primary verse and the refrain of the track, the one I’d written that day I bought residence, after which rewrote the second verse with my newfound perspective on life.”
“Now, the track represents my journey via my battle thus far, and feels extra hopeful than it did the day I wrote it. As a lot as that interval of my life was terrible, and I’d by no means need to return, I have a look at this track and might’t assist however consider the truth that one thing gentle got here out of that darkness. This track is my silver lining, and I hope it encourages anybody listening to search for the silver lining of their struggles. I’m no totally different than anybody else, all of us undergo shit that sucks, however I feel it’s so extremely necessary to seek out that silver lining. Nothing is for nothing. All of you might be superior, and I’m so grateful that you just’re right here listening.”
From its beginning in an aftermath and homecoming, to its launch this 12 months on The Marigolds’ The Silver Lining EP, “Dwelling” preserves the uncooked ache of its authentic type whereas reshaping its ending into one thing resilient and resolute. Over jagged guitars and propulsive drums, Mangum’s voice cuts via – first pleading, then affirming, “Now I’m residence once more, set me free, there’s nothing improper once more, nothing improper with me.”
It’s a track about survival and perspective – proof that even the darkest chapters can result in one thing value singing about.
:: “I Wager The Seller Has Deleted Me” – Harlequiin x NYM ::
Danielle Holian, Galway, Eire
Harlequiin’s newest single, “I Wager The Seller Has Deleted Me,” is a mezmerising slice of alternative-electronic brilliance that showcases each inventive depth and emotional resonance. Crafted by multi-instrumentalist and producer Rory Simmons and that includes the smoky, spellbinding vocals of NYM, the monitor unfolds like a haunting interior monologue: seductive, brooding, and laced with soul. Harlequiin’s trademark fusion of textured electronica and jazz-rooted musicianship is entrance and centre, delivering a soundscape that feels each intricate and effortlessly fluid. Lo-fi beats shuffle beneath layers of analogue synths and stay instrumentation, creating an immersive listening expertise that pulls you in deeper with each hear.
NYM’s vocal efficiency is a revelation; velvety, weak, and strikingly intimate. Her interpretation of the monitor as an inside dialogue about psychological well being provides an emotional gravity that elevates the track far past the strange. With a historical past of performing alongside among the world’s greatest names, her presence right here feels each commanding and delicate, completely complementing Simmons’ forward-thinking manufacturing. This launch is a hypnotic and compelling vignette of non-public reckoning, pushing boundaries whereas remaining deeply human. It’s one other daring, genre-defying second in Harlequiin’s ever-evolving sonic journey.
:: “Fashionable Man” – MORN ::
Mitch Mosk, Beacon, New York
With guitars that snarl, rhythms that pound, and a stress that refuses to let go, MORN arrive this 12 months like a shot of adrenaline straight to the system – a feverish indie rock debut that churns and churns, rising to a breakneck fever pitch that’s as alluring and all-consuming as it’s totally anxiety-inducing. Launched Might 29th by way of Speedy Wunderground, “Fashionable Man” is the form of debut that doesn’t simply knock – it kicks the door clear off its hinges. Uncooked and relentless, it churns like a storm entrance rolling in, spurred by MORN’s intuition for urgency and unrest.
Comprised of Oliver Riba (vocals, guitar), Robert Riba (vocals, guitar),Mae Ryder (vocals, bass), and Noah Ryder (drums) – two units of siblings from South Wales – the band name their sound “doom over lovely chords,” and you’ll hear that duality right here: The guitars are jagged however melodic, the rhythms frenzied however deliberate, and the entire thing burns with an vitality that’s as alluring as it’s anxiety-inducing.
I need to
Get away from right here
It’s a wierd place
Get me out of right here
There are folks dying
And so they can’t breathe
What a world we’re residing in
What a spot to be
I noticed you
On the gallery
You had a wierd face,
You had been in your knees
There have been folks praying
They cried out to me:
“What have I change into, what have I change into?”
“We see ‘Fashionable Man’ as a reminder of the urgency of on a regular basis life, and the way laborious it’s to flee uncanny normality,” MORN share. “In a time the place the collapse of the human race is looming, ‘Fashionable Man’ serves as a direct response to this sense of impending doom we’re all topic to.” That looming dread seeps into each second – the stressed riffs, the propulsive bass strains, the unflinching gang vocal that shouts, “Life is shit if you’re on their lonesome, but it surely’s nice.”
Life is shit if you’re on their lonesome, but it surely’s nice
I wanna go residence and name it a day, half-past 9
I want I used to be asleep cos you’re in my desires
and also you’re all that I take into consideration
I want I used to be asleep cos you’re in my desires
and also you’re all that I take into consideration
It’s a track constructed on contradictions: feral but exact, chaotic but cathartic. “‘Fashionable Man’ got here from the wild urgency of our lives,” says vocalist/guitarist Oliver Riba. “Born from teenage riffs, formed by laughter, anger, and worry… It’s a determined dash via the loneliness and insanity of routine, a wierd reflection on the dream of escape.” Captured stay with Dan Carey on the helm, the monitor sprints ahead prefer it’s racing the clock, tumbling into an unhinged, breathless finale of la la la’s that really feel much less like a singalong than a launch valve.
“Fashionable Man” is not only a primary single – it’s a mission assertion. In simply over 4 minutes, MORN carve out a sound that’s unfiltered, magnetic, and not possible to disregard, leaving you each exhilarated and slightly bit scorched. If that is how they introduce themselves, the remainder of the world higher begin operating to catch up.
:: “Peaks and Valleys” – La Raca Flaca ::
Chloe Robinson, California
La Raca Flaca’s single “Peaks and Valleys” is a stirring melodic pop anthem that may have you ever believing within the immense energy of affection. With lyrics that emphasize connection, dedication, and emotional power, it’s a tribute to relationships that endure towards the chances. Her velvety, emotive vocals glide over hypnotic, percussive soundscapes, drawing the listener deeper with each be aware. The visuals place her in breathtaking pure landscapes, enhancing the track’s magnificence.
Rachel Scutti, who performs beneath the identify La Raca Flaca, grew up in New Jersey. From a younger age, she had a ardour for writing lyrics and crafting melodies, usually recording her creations on cassette tapes. Nevertheless, she stored this expertise non-public and by no means shared it publicly. It was not till she moved to Los Angeles that she started releasing singles together with one among her hottest ones, Mr. Golden Solar. Her music now mirrors her path, marked by power, exploration, and daring honesty. “Peaks and Valleys” is a major illustration of that.
:: “Wool” – Drauve ::
Mitch Mosk, Beacon, New York
While songs bloom in heat, “Wool” burns within the chilly gentle of betrayal. Drauve’s first launch since their 2024 debut No Hope for Something is directly haunting and cinematic – a shoegaze-laced fever dream that aches inside and outside, its magnificence sharpened by the sting of non-public fact. Swelling waves of guitar and reverb wash over Victoria Draovitch’s searing vocals, every line heavy with the burden of realizing and the ache of not saying.
“‘Wool’ was impressed by feeling betrayed,” Draovitch, who performs in Drauve along with guitarist Stephen Grzenda, tells Atwood Journal. “It’s about somebody turning on you, speaking about you behind your again, however persevering with to play the function of good friend to your face… There’s this frustration as a result of you possibly can’t fairly show it, however you can begin to inform by the way in which they deal with you… making snide feedback or delicate jokes about you in entrance of others, then appearing like a supportive confidant if you’re hanging out alone.”
“On this track, I’m imagining myself totally confronting the individuals who have handled me this fashion, as a result of I didn’t truly do it in actual life. The road ‘it’s just like the form of dream the place you simply wanna scream however nothing comes out’ encompasses that. Quite a lot of instances I simply let issues go and let anger construct up inside me over the course of my life. This track is about releasing that anger.”
That stress – the push-and-pull between silence and the urge to talk – crackles via each verse, particularly as Draovitch sings, “I don’t wanna hear your cowl ups, your fabricated model of the reality / I’d have by no means finished this to you.” Because the track swells, the band harness the duality they’ve made their signature: Delicate, ethereal textures pierced by moments of uncooked, unfiltered launch.
A young tempest calling to thoughts the likes of Sluggish Pulp, Model Pussy, and Softcult, “Wool” is Drauve at their most visceral – a cathartic reckoning wearing dreamlike distortion. It lingers like smoke, a reminder that some wounds hold burning lengthy after the fireplace’s out.
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