Browsing Tag

London Singer Songwriter

Gravity: Millar’s Love-Induced Descent into Dream Pop

Posted on 21 October 2024

With her latest single, Gravity, London-based singer-songwriter Millar has fortified her discography with yet another fearless vignette of introspection. Drenched in raw, unfeigned emotion, Gravity offers a glassy, neon-lit dream-pop soundscape where love becomes a force of nature, pulling you into a spiral of intoxicating vulnerability. Millar’s tender vocal lines swirl in hazy, retro-futuristic synths, creating an irresistible sense of fragility that leaves you feeling exposed to both the sweetness and the inevitable scars of love.

From a young age, Millar began crafting her melancholic sound, first writing songs at 16 before honing her skills at a Stratford music college. It was there, after years of artist development, that she discovered the core of her creative identity, one steeped in the bittersweet duality of love and nostalgia. Her voice carries the weight of these themes effortlessly, with each note steeped in a chilled-out melancholy.

Gravity is a sonic collision of worlds, imagining The Weeknd and First Aid Kit sharing a sonic continuum. The ethereal quality of Millar’s vocal delivery contrasts beautifully with the retro, synth-driven instrumentation; the fragility she conveys is palpable, yet it’s clear that Millar is in control of her artistry. The synaesthesia-inducing blend of lush synths and vulnerable lyrics in Gravity demonstrates that Millar is carving out her own space in dream pop, and if she continues down this path, her success seems as inevitable as gravity itself.

gravity became a new force in the pop scene to be reckoned with on October 4th; stream the single on Spotify now.

Review by Amelia Vandergast

Lucy Wroe delivered cultivated consolation in her allegory of heartbreak, Heartbeat Wipers

Posted on 5 April 2024

The Last Dinner Party may have faced a massive backlash after declaring that people want artful escapism instead of post-punk expositions on the cost-of-living crisis, but with her latest single, Heartbeat Wipers, the London-based singer-songwriter, Lucy Wroe, who describes herself as a lovechild of Jessie Ware and the Weeknd, made a compelling case for the catharsis of artfully composed productions.

Every element, from the ornate piano keys to the brooding basslines and the increasing intensity of the synths, in Heartbeat Wipers amplifies the emotional theme of finding strength in independence after losing the person you lent on the most. From the ethereal grace of the intro to the disquietness when the instrumental arrangement amasses intricate all-consuming complexities, each progression is a new chapter in the redemption story that everyone, on some level, can relate to.

The haunting reprise of ‘The same goodbye a million times and I…’ underpins the aura of mourning within the release without overbearing it, ensuring that Heartbeat Wipers, which started with a sample of the mechanical swipes of windscreen wipers batting away torrential rain, is as consoling as it is cultivated.

Heartbeat Wipers was officially released on April 5th; stream the single on SoundCloud.

Review by Amelia Vandergast

Nick Cave Meets the National in Harry White’s Latest Feat of Melancholic Liberation, A Way to Go

Posted on 17 March 2024

Harry White’s single, A Way to Go, extracted from his seminal LP Elvera, released on February 23rd, is a profound exploration of introspective lyricism and eclectic soundscapes.

The London-based artist embarked on a new musical chapter with his third album. A Way To Go, in particular, stands out as a vivid illustration of White’s artistic evolution. The influence of Nick Cave permeates through the keys and the gravelly drama of the vocal lines, while the introspective and intimate lyrics carry the magnetic flair of Leonard Cohen.

White’s venture into a more eclectic sound palette is evident in the fusion of electronic effects and the inclusion of a scratchily turbulent backbeat, hinting at The National’s influence. This backdrop is more than just a sonic layer; it’s a canvas for White’s philosophy that the world’s end is inevitable, regardless of individual actions. This theme, rather than being oppressive, is presented with a liberating twist, making A Way to Go a paradoxically uplifting anthem of melancholy.

The track is a compelling blend of styles, reminiscent of the transcendent zeal of ELO, yet amplified with a gothic romanticism unique to White. As the singer-songwriter gears up for live performances, A Way to Go solidifies his position as a seminal artist on the London circuit.

Stream A Way to Go on Spotify now.

Review by Amelia Vandergast

Rokeby’s Cover of What is Love is an Arcane Sermon of Mourning, Desperation and Torment

Posted on 10 March 2024

For his debut single, the London-based up-and-coming artist, Rokeby, proved what difference a minor key can make when he melancholically reinvented the 1993 single, What is Love, which was a flood of euphoric momentum under Haddaway’s dance pop duress.

The acoustic rendering of the single completely recontextualised the lyricism; the minor key piano notes and the gospel-esque soulfully profound vocal harmonies allowed the cover to unravel as an arcane sermon of mourning, desperation and torment. The ethereal production which sees his vocal range defy gravity swims in sincerity, inviting you to get lost in the undercurrents of agony inflicted by the absence of affection or the presence of imperfect love.

By taking inspiration from Hozier, Tom Odell, Bon Iver, Freya Ridings and David Kushner for this track and the rest of his forthcoming EP, which was co-written and produced with Tom Fuller, Rokeby is set to become the UK’s biggest evocateur of 2024.

Rokeby’s debut single was officially released on February 21st; stream the single on Spotify, and keep the artist on your radar for the launch of his debut EP, which will follow in 2024.

Review by Amelia Vandergast

The troubadour of die-hard romanticism, Andy Smythe, struck aural gold once again with ‘Out of My Mind’

Posted on 3 February 2024

Andy Smythe teased the aurally amplified eloquence caged in his forthcoming album, Poetry in Exile, by unveiling the standout single, Out of My Mind, which captures the toil of finding ‘the one’ in a sprawling metropolis.

The psychedelic and sporadically spacy pop hit, which oscillates in the middle ground between the Beatles, Bowie, and Buckley, brings brand-new meaning to an endeavour being a labour of love while allowing you to fall head over heels for the London-based troubadour of die-hard romanticism.

The kaleidoscopic melodies vortex around the horn stabs, which bring an infectious and enrapturing bluesy stridency to the release, ensuring that Out of My Mind will never be far from your own psyche after you have succumbed to the rhythmic magnetism. The stunningly rendered release is the ultimate testament to Andy Smythe’s talents in prising sentiments from his soul and visualising them through his tenor harmonies and lush arrangements that will effortlessly become your new crush.

The official music video for Out of My Mind was officially released on January 26. Stream it on YouTube and follow Andy Smythe on Facebook and Instagram to stay up to date with the launch of his upcoming LP, which is poised for a March 1st release.

Review by Amelia Vandergast

Marilyn Joy conjured affectionate innocence in her sticky-sweet synth-pop score. HeartSchool

Posted on 28 January 2024
HeartSchool by Marilyn Joy

Marilyn Joy’s latest single, ‘HeartSchool’, is a sticky-sweet journey back to the innocence of first loves and schoolyard romances. This London-based artist, known for her alternative pop/rock flair, has once again captured our hearts with her quintessentially quirky style.

The lo-fi polyphonic pop vignette is a sweet, nostalgic trip down memory lane, guided by tender melodies which evoke the simplicity of young love, untouched by the complexities of adult relationships. Marilyn’s playful vocal timbres weave through the melody like a gentle reminder of days gone by while bearing reminiscence to the uninhibitedly expressive air of the Legendary Pink Dots.

Marilyn’s influence in the London music scene is evident in her live performances, described as ‘exciting’ and ‘unpredictable’. The track is a testament to her ability to blend genres and influences, from Blondie to Starsailor, into her distinctive sound.

With her previous releases, including ‘Crystal D’Arke‘ and ‘Killjoy Was Here’, she has consistently demonstrated skill in crafting songs that resonate with a wide audience. ‘HeartSchool’ continues this trend, solidifying her place as a significant voice in the alternative pop/rock genre.

HeartSchool is now available to stream and purchase on Bandcamp.

Review by Amelia Vandergast

London’s Immy Odon gave us the live lounge-y version we never knew we needed of Nelly Furtado’s Say It Right

Posted on 20 January 2024

Stripped-back and soulfully reimagined, Immy Odon’s acoustic RnB pop version of Nelly Furtado’s ‘Say It Right‘ is a revelation; the previously keyboard-driven single, now infused with the warmth of acoustic guitar chords, is elevated to new heights of emotional profoundness. Odon’s rendition is more than a mere cover; it’s a visceral reinvention of every harmony, showcasing her outstanding vocal performance.

Odon achieves what seems impossible: her version of ‘Say It Right’ outshines even the idea of Furtado herself performing it in a BBC Live Lounge setting. The success of Odon’s most popular single to date, ‘Unfreezing’, with over 384,000 streams on Spotify, speaks volumes about her talent and the impact of her music. Her rendition of ‘Say It Right’ is a testament to her unique ability to transform a well-known track into something entirely her own, and something that deeply connects with the listener.

Immy Odon is clearly an artist on an upward trajectory. Her upcoming releases, including several dance tracks, are eagerly anticipated. If they contain even a fraction of the magic found in her version of ‘Say It Right’, they are sure to elevate her status even further in the music world.

Stream the acoustic rendition of Say It Right on Spotify, which was first transmitted on the airwaves on January 12th.

Review by Amelia Vandergast

Miranda Joy is an icon of graceful beguile in her latest single, Wasting My Time

Posted on 19 January 2024

Miranda Joy brought the proverbial house down with her latest single, Wasting My Time. Her classic approach to songwriting paired with the cutting-edge cultivation which resounds within the sophistication of the production allows her rapidly expanding fanbase to enjoy the best of both worlds as she delivers pure unadulterated emotion filtered through the lens of a relatable vignette.

It isn’t a stretch to say the vast majority of us waste life’s most precious resource as our time becomes trapped in digital vacuums or invested in people who aren’t worthy of our energy or attention, allowing Wasting My Time to unravel as a universally relevant release. The timely unveiling of the single, which coincides with when our motivations to keep resolutions slip, is sure to ensure the success of the single, orchestrated by the London-based luminary, whose voice has filtered through the O2 Academy Islington and graced the bill of The Great Escape Festival.

Her voice, a blend of raw emotion and refined artistry, carries the song with an effortless grace reminiscent of Joni Mitchell’s intimate narratives. Yet, there’s a stridency in her delivery, a nod to the iconic power of Prince’s Purple Rain. Even with the loungey adult contemporary elements filtered between the blues and soul layers, the accessibility of the single as Joy commands a panorama of emotions is palpable from the first verse.

Her past collaborations, like the acclaimed I Just Came to Dance with Carmy Love, and her contributions to Peter Beatty’s album, have all been stepping stones to this moment. Wasting My Time is a testament to her growth as an artist and a harbinger of the incredible work we can expect in her upcoming releases.

Wasting My Time is due for official release on January 19; stream it on Spotify. 

Review by Amelia Vandergast

Liya Shapiro delivered darkwave decadence in her debut single, The Thing

Posted on 25 December 2023

Fuse the dark decadence of Lydia Lunch, PJ Harvey, and Siouxsie Sioux with the electronic southern gothic beguile of Chelsea Wolfe, Interpol-esque guitar lines and the trip-hop aesthetic of Massive Attack, and you’ll alchemise a sound as scintillating as the atmosphere within Liya Shapiro’s debut single, The Thing, which officially released on December 15.

After a sequence of stabbing synths that could have been torn from a John Carpenter score, post-punk synthetics start to bleed into the hypnotism of the production which leaves discordant effects to linger in the shadows, harbingering a forboding energy, as striking as the avant-garde tones within Glenn Branca’s The Ascension.

Once you’ve torn yourself away from the grip of the instrumental magnetism, you’ll lock into the lyrical poetry as it elucidates the intangible nature of love. By using dark, almost nihilistically macabre, imagery between the sweetly abstract sentiments, dualism drives through the debut from the London-based singer-songwriter, whose lyrical ambiguity opens a labyrinth of corridors in the mind as you attempt to extrapolate meaning.

The abstractions within the poetry also serve to prevent the single from becoming a derivatively paradoxical debut. To speak of the unspeakable and pretend to possess a firm grip of an incomprehensible emotional and spiritual phenomenon would only cheapen the track which pays a true ode to the ephemeral and constantly in flux constructs of love.

We can’t wait to hear what Liya Shapiro has in the pipeline for her sophomore release.

Stream The Thing on all major platforms via this link.

Review by Amelia Vandergast

aimée became the queen of quiescence with her superlatively stripped single, Poison

Posted on 12 November 2023

Irish singer-songwriter, multi-instrumentalist, and producer aimée is no stranger to euphonic etherealism; with her latest single, Poison, she reached the pinnacle of dreamy, decadent-with-soul art-pop. Like a sonic intravenous shot of intoxication, the single unravels through complex time signatures the choral consolation of her glassy vocal lines and a sense of quiescence which allows the track to deliver all-consuming catharsis.

After receiving plaudits from BBC Introducing, YEO Magazine, and airplay from Northern Ireland’s biggest radio station, aimée has been making major strides with her beguilingly pure sound that remains untarnished by the serious accolades. There’s a real sense that there’s no room for ego in her explorations of the beauty of life and the ache of heartbreak.

Following a string of sold-out shows at some of the most iconic venues in Dublin and Belfast, the songstress has relocated to London to work alongside some of the country’s top producers on her forthcoming singles and form her six-piece band, which is set to take her live performances to the next level.

Stream Poison on SoundCloud now.

Review by Amelia Vandergast