WATCH: BCOS RSNS – ‘(First On At The) Buffalo Bar’

A catchy and absorbing debut single, ‘(First On At The) Buffalo Bar‘ by BCOS RSNS is a deceptively upbeat love letter to a precarious live music scene. A bouncy rhythm blending with cheery keys and fuzzy guitar riffs captures the liveliness and excitement of being at the kind of gig that makes it worth paying London prices for a pint.

The verses recount fond memories of the kind of weird and wonderful acts that find the space to perform in small venues willing to take a punt on something different, and anyone who knows and loves a local venue with a cramped stage and an eclectic-bordering-on-chaotic rotation of performers will recognise at least some of the images conjured in this track. The bright chorus repeats “I wanna be first on at the Buffalo Bar” with an infectious enthusiasm that makes you want to take your weird idea and go play there too. The riff beneath is an absolute earworm that will have you humming that chorus for a long time.

Regretful repeated lines come in towards the end that give the song an all too familiar sense of heartbreak; the simple change to the lyrics, with almost no shift in the music subverts the happy experiences into just memories. The sense of nostalgia is nice, but the loss of such a gem to the live music scene is tragic, and that feeling evokes the loss of many, many incredible community spaces lost to the ravages of late stage capitalism. It tinges those stories with sadness that even the most busy, vibrant cities can’t keep their best small venues afloat.

‘(First On At The) Buffalo Bar’ expertly captures the existential anxiety of seeing a scene you love to be a part of crumble away before your eyes, as a brutal economy and an increasing disregard for the arts rip holes in the fabric of the DIY community.

BCOS RSNS have chosen their debut perfectly. Given the presence the band have in the DIY scene in London, as familiar faces at all the best gigs both on stage and supporting from the crowd, this track really represents their authentic personality as well as introducing their sound to people further afield hearing them for the first time.

BCOS RSNS, the eponymous debut album from the band, is out on 22nd May, and you can celebrate the release with them live at The Cavendish Arms on 25th May.

Kirstie Summers
@ActuallyKurt

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LISTEN: Daughter – ‘Arise, Daughters Of Marsha’

The debut release from transgender black metal project Daughter, ‘Arise, Daughters of Marsha’ is a battle cry summoning the global community to stand up for trans rights. The track begins with a scream that acts as Daughter’s mission statement, not just with this single but the full upcoming EP. Vocalist and songwriter “Deadname” aims to channel the trauma of the trans experience in contemporary society through the brutal, aching sound of black metal.

The lyrics are delivered in a guttural scream that feels like it has been ripped violently from her throat. Shrieking guitars and rapid drums echo the feeling in the vocals, without compromising on the absorbing quality of the beat or the melodic riffs. An almost military-sounding rhythm adds a looming sense of dread to the track, compounded by the ominous wailing stings.

In this song, Deadname allows herself to cast aside the composure with which she, as a trans woman, is expected to carry herself with at all times in public; to act as a representative of her community against the vitriol of transphobic commentators. Instead, this track is raw and honest and seethes with the pain and rage that come as an extremely understandable reaction to the treatment of trans people right now, as news stories of transphobic attacks are increasingly, tragically frequent.

Savage riffs and blasting beats ramp up to a churning storm of music, until it ends by sampling some massively poignant lines from Sylvia Rivera’s ‘Y’all Better Quiet Down‘ speech from 1973, in which she exposes the hypocrisy of trans-exclusionary queer people. She reminds the world how much abuse trans women have historically faced when standing up for queer liberation only to be shunned by other members of their own community. “You all treat me this way? What the fuck’s wrong with you all?” The fact that these words are still so powerfully relevant more than fifty years later, with “charities” claiming to support the queer community but explicitly and unashamedly excluding trans people, gives this track a sucker-punch finish that leaves you unable to ignore the importance of the conversation Daughter generates with this poignant and necessary debut.

Kirstie Summers
@ActuallyKurt

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WATCH: Sheherazaad – ‘Mashoor’

Having grown in up in San Francisco in a second generation immigrant household, Brooklyn based artist Sheherazaad fuses influences from both Western classical and her own South Asian sonic lineage through her exquisite interwoven soundscapes.

Drawing on themes of displacement and nostalgia with a contemporary, genre-defying spirit, Sheherazaad’s debut single ‘Mashoor’ showcases her ability to blend a stirring alternative folk musicality with experimental techniques, exuding a contemporary, genre-defying spirit. With a spellbinding rippling allure, her sumptuous vocals flow throughout, allowing ‘Mashoor’ to immerse the listener in its soaring splendour on first listen.

‘Mashoor’ is accompanied by a moving video. Filmed throughout New York in extreme weather, it is a beautiful representation of worlds colliding; combining a South Asian immigrant story with America’s historical fabric. Watch now:

https://youtube.com/watch?v=qyxov4IpEJ0%3Fsi%3DIZrAB5phKzAbhFtX

‘Mashoor’ is out now via Erased Tapes. It was recorded at The Glass Wall in Brooklyn, produced by Arooj Aftab, mixed by J. Valleau, and mastered by Heba Kadry. It features performances by Ria Modak on classical guitar, Gilbert Mansour on percussion, and additional vocal mixing by Runar Blesvik.

Photo Credit: Zayira Ray

Mari Lane
@marimindles

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LISTEN: Trinity Mei – ‘ever be right’

Trinity Mei is a folk singer-songwriter from the sun-soaked desert landscapes of Arizona. Having honed her musical prowess at the prestigious Berklee College of Music, she blends elements of traditional folk with aspects of electronica, giving her music a contemporary yet timeless quality. 

Her debut track ‘ever be right’ has introspective lyrics that delve into the common experience of entering a relationship where emotions aren’t reciprocated. She describes tender moments in the verses – “…we’ll stay up for hours until the moon is gone / talk about secrets till the light of dawn” – but questions in the chorus whether she will ever be right for them, noting her frustrations that “guess life’s not like the movies, your heart is out of range”. 

‘ever be right’ has a beautifully chilled out energy, characterised by mellow and gentle sounds. It’s built around lilting, strumming guitar and incorporates harmonising vocals, lush string swells, and textured synth parts – providing a perfect foundation for Mei’s smooth and soulful vocals, which captivate on first listen. The production is crisp and warm, drawing you in and holding your attention. Whilst there are no belting vocals, they are delivered delicately with an immersive dynamism and raw emotion, reflecting the subject matter and giving hints of the stirring alt-pop of Phoebe Bridgers or Billie Eilish.

Already, with this spellbinding debut, Mei has demonstrated sharp musicianship in constructing a stunning and intricate soundscape with a really strong vocal performance. I look forward to seeing what’s to come next from this artist.

Ella Patenall
@ella_patenall

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