Words: ROBIN MUMFORD
Hello, hello, Hello! It is that time of the week again, blah, blah, blah, you’ve heard it all before in these cheesy opening paras. We tell you some songs we like that were released (or shown to us for the first time) this week and give you a rundown of why we think they could fit neatly into your playlists. Got it? Got it.
Single Of The Week: ‘When You Went’ – Deadbeat Girl
In this edition, our track of the week comes from 20-year-old Val Olson, who brings us a special new single via her alias, Deadbeat Girl, with the release of ‘When You Went’. Ever since listening to this track, I’ve fallen in love with the New York based singer’s discography, with aspects of The Cranberries’ jangling vocals being at the core of a deeply authentic lyrical set splashed onto the dissimilitude of a basic but effective acoustic sonic which draws attention to Val’s candid accounts of heartbreak, identity, and rebellion. But with this latest release, although it starts with that comforting echo of an under-pronounced acoustic variation, energised by a dark orchestral synth and Val’s meditative vocalism, the soundscape is turned on its head by the midway point. For ‘When You Went’, the gravitational pull that her parent’s grunge and alternative rock record collection had on her musical influences growing up seems just a flash in the pan, with a huge chorus making way for a Drum and Bass influx. Characterised by its midway metamorphosis, the new single is Deadbeat Girl at its experimental best, showing that the array of genres applicable for the artist are far wider than first thought. Val still beholds that bona fide storytelling, but with a modern, in-vogue twist we adore.
This week’s finest other selections:
My Place (Or Your Place) – Faded Shades
Next up, Faded Shades, a Kent-hailing indie-pop trio, presents us with a unique interpretation of modern rock’n’roll of which the latest release is a perfect example of. Serving as a reflection of the preparation and dedication the band have been injecting into their sound since they first hit the scene pre-Covid, “My Place (Or Your Place” features charismatic swagger from frontman Joe, which is shaped nicely by Liam and Charlie’s chemistry to heave a biting riff and up-tempo drum beat into the jaunty mix. Lyrically, it speaks about falling love with the wrong person but having no regrets, but it is within its overflowing and confident sound that it thrives vivaciously.
‘Singin At The Train’ – Artesan
Influences that make up Artesan’s background, a five-piece group from Falkirk, Scotland, include Oasis, U2, Guns n Roses, and The Verve. So when their latest release opens unexpectedly with a warped synth soundscape, all expectations are defenestrated. It isn’t until almost a minute in before you hear that trademark guitar distortion and pulsing bass, with sweeping lyrics that deal with the inevitable demise of a relationship. But this is exactly why it has been chosen this week. At stage one, it’s morphing psychedelia, in the middle it turns to cranked up rock n roll, before the roaring crescendo gives us elements of the heavier components of 70s anthemic rock until the song comes to its finish line. At every turn, there’s a surprise. For sure, there’s a clear beginning, middle, and end, which gives the single structure. But on first listen, and perhaps several more, you never know what direction the music is going to take you in.
‘Good Time’ – Smythy
What better way to cool off from that rollercoaster than to ‘get away’ with Smythy’s summer aesthetic enveloped single ‘Good Time’? Written after a night of heavy drinking, it’s a lyrically personal narration on the depression and anxiety felt when over-reliant on sources of gratification to provide happiness. But with its swirling, gleaming soundscape, illustrated with a funky bass line, the intimate meaning of the track can easily be interpreted as just another fun indie pop tune for the sunshine months. Good time on the surface, bad time at the core of its creation, Smythy is a great musician who deserves your attention after this release.
‘Someday’ – Jamie Wooding
Teeming with unfulfilled potential, despite being this good already, Jamie Wooding from Liverpool is a rising star quickly making a name for himself for his ascendant, stadium-sized choruses, emotion-induced testaments, and spry indie rhythms. A product of the 2020 creative arts boom, Jamie is back, fresh from a supporting role with Manchester’s ‘The Lottery Winners’, to bring us another giant tune with ‘Someday’. The new offering sees him spew his emotions whilst delving into the end of a relationship alongside expansive vocals and next-level production from Sugar House (Corella).
‘Reminder’ – The Rosecaps
I’ve said it before, and I’ll happily say it again. Ireland is the new Scotland when it comes to being the hub of musical accomplishment. Nowadays, it seems more good musicians come out of the emerald isle than bad ones, making it a competitive place to stake a claim in the industry. This is justified by Galway-bred indie rockers ‘The Rosecaps’, who have released a bold and communicable new single ‘Reminder’, which sets about telling the tale of a self-centred character, living in their own bubble, completely shutting off from the real world they live in. Distinctive vocals and attitude such as the influences of Arctic Monkeys and The Academic are paired nicely by a rhythmic synth similar to the summer sounds that The Blossoms curate.
‘Ribbons’ – Quinnie
Sentimental and earnest, with a sprinkle of playful stardust, the new track from Quinnie is an ethereal galaxy of sounds and values that produce a brilliant listening experience. Since her last track 'Touch Tank’ went viral last year, the music scene has openly welcomed the 21-year-old folk artist, who’s now based in LA, giving her a safe space to be herself, spread her wings, and fly above the clouds with her immaculate attention to detail. ‘Ribbons’ is a perfect portrayal of how far the young musician has come from dropping out of college with a few DIY bedroom recordings under her belt, also shining a light on the tangible fact that pursuing a career in music was the correct decision. Though a relatively straightforward release, Quinnie excels at using her vocal depth to add cosmopolitan consistencies to ‘Ribbons”, making it a full-bodied soundscape.