PREMIERE: Priestess – ‘Shelter’

Originally formed in London by Kate Fleur Young, and with the added input of producers James Mottershead, Jack Drewry and Oli Kilpatrick, Priestess has now shared a spellbinding new single. 

Reflecting on the impact of deep, and sometimes destructive, love, ‘Shelter’ provides a soaring, ethereal soundscape. Propelled by glitchy beats and whirring hooks, a swirling haunting majesty flows alongside the deep, bewitching splendour of Young’s rich sensual vocals. Captivating the ears with its exquisite dark energy, it’s a soulful slice of introspective electro-pop, perfectly capturing the intoxicating feeling of being overwhelmed with emotion. A poignant sonic portrayal of “when love feels like a beautiful and dangerous storm”. 

Of the track, Priestess expands:

“‘Shelter’ was written about the golden rays of deep desire and infatuation. A love that feels so bright but can also take you to the darkest parts of yourself. It’s based in raw feelings that connect to the elemental energies of nature. Terrifying, beautiful and unpredictable.’

Listen to ‘Shelter’, for the first time, here:

 

‘Shelter’ is out now.

Mari Lane
@marimindles

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ALBUM: Lizzie Reid – ‘Cubicle’

Glaswegian singer-songwriter Lizzie Reid pushes through post-breakup pangs and towards bold self-assurance on her debut EP, Cubicle. A mixture of new additions and pre-loved tracks, the record is a serene snapshot into a definitive healing process that enabled the singer to learn more about herself and her sexuality.

Lo-fi opener ‘Tribute’ starts with stripped back strums as Reid sings “I will try not to / laugh it off in solitude / but I don’t understand / quite why you left,” signifying the inescapable relationship post-mortem, questioning everything in order to rebuild oneself. Mesmerising melancholy continues in the equally beautiful ‘Seamless’, which showcases a Country twang to her vocals. Each hand-picked detail is painfully relatable as she admits, “I still have your clothes / I’ll be wearing your jumper,” marking the physical emblems we hold onto when we’re not ready to let go.

Reid recalls heartbreak with the same vivacity as Julia Jacklin on Crushing – each line so overtly honest and elevated with every note. ‘Always Lovely’ echoes melodies from Laura Marling that tail off throughout Once I Was An Eagle, enhancing a despondence to her tone which later forms into a choral crest that shows a determination of strength, despite exposing a palpable tenderness.

On ‘Been Thinking About You’ Reid’s vocals mirror Helena Deland, with the last lingering notes echoing those of Jeff Buckley. Cubicle‘s title track is the real clincher, the finale you can only hope for in an already stunning assortment of vignettes. “I can’t escape this night / I’m in the cubicle” Reid details feeling trapped while in a weird limbo between breaking up and moving on: “the sweet unbearable”. We’re left hearing a bittersweet surrender, signalling the acceptance of growing apart from someone.

Lizzie Reid’s debut album Cubicle is an aural elixir that illustrates storytelling in its truest form. The last notes lingering on for a long time to come.

Photo Credit: Chris Almeida

Charlotte Croft
@croft_charlie

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Track Of The Day: Hannah Rose Kessler – ‘Come Feel Me’

In a drudging industrial confession, raw honesty and emotive instrumentals convey Hannah Rose Kessler’s mystifying ‘Come Feel Me’ with intention. Released via Reckless Yes, this new single is Kessler’s musical debut since signing to the independent label, bringing an attitude of solitude and a nostalgic edge to contemporary experimental rock. 

Thick fuzz and a slow tempo create a heavy palette reminiscent of PJ Harvey’s grunge universe, as dreary tonal arrangements flow with intention. With Kessler’s pleasant voice floating over her cathartic melodies, ‘Come Feel Me’ embodies a duality between the lightness and darkness of isolation. 

Despite swirling lyrics confessing Kessler’s mundane loneliness and yearning for others, there is a strength emitted from the production of the track that reveals an unwavering resilience in Kessler’s disposition. It is clear that Kessler craves the presence of another, but has none the less gained an empowering self-knowledge from her time alone. 

Hannah Rose Kessler has invited us into an introvert’s complex that is revealing, sonically gothic and emotionally fascinating in ‘Come Feel Me’. It is with great intrigue that we wait to see further into Kessler’s world.

Of the track, Kessler expands:

“I wrote this track while stuck in a very liminal period of my life. It’s about the desperate clawing for intimacy, validation and recognition you see in groups of unhappy people…“

 

‘Come Feel Me’ is out now via Reckless Yes.

Jill Goyeau
@jillybxxn

Photo Credit: Stephen Garnett

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WATCH: Jenny Moore’s Mystic Business – ‘Woman Is A Word’

Originally from Canada and now based in East London, Jenny Moore has played in bands such as Charismatic Megafauna and Bas Jan, and has now shared a brand new single from her six-piece choral punk ensemble Jenny Moore’s Mystic Business. Featuring members of Trash Kit, F*Choir and Bamboo, the ensemble have received acclaim from the likes of Steve LaMacq on BBC 6Music for last year’s stirring ‘I Am Afraid’ and have now announced the release of a debut EP, set for release this Summer.

A cover of Empress Of’s ‘Woman Is A Word’, this latest offering highlights the power of voices coming together in unity. Oozing a sweeping, celestial splendour, the many vocals flow together in harmony creating a captivating soundscape, propelled by an upbeat, jazz-infused musicality. Adding their own unique euphoric energy to the poignant sentiment and soulful passion of the original, Jenny Moore’s Mystic Business have created an emotive and empowering rendition.

Of her inspiration to cover ‘Woman Is A Word’, Jenny explains:

“I’m always hunting for mantras, earworms and hooks that I can drench my vocal chords in, making sure there are powerful phrases locked in my muscle memory… When I’m up against power dynamics that try to reinforce boring tropes of gender or undermine my own self-knowledge, I need a groove to settle into that reminds me ‘I’m only an image of what you see.’ Empress Of’s song offered me that groove and I felt compelled to rearrange her song as a way of meditating. Covering this song felt like an act of building resilience for those moments when I feel like I just don’t know how to fight anymore… I often think about how vast our experiences of both gender and desire could be if we acted like all humans deserve dignity, freedom to self-determine, and to be the boss of their own bodies! This tune acts as a kind of escape from the dominant narratives that try to control everyone for the sake of the status quo…”

‘Woman Is A Word’ is accompanied by a beautifully hand-crafted video highlighting the subtle power of the voices of the track, featuring footage of all of Mystic Business in the their separate respective homes, coming together through the power of song. Watch now:

‘Woman Is A Word‘ is out now via Lost Map, available to download from bandcamp.

Mari Lane
@marimindles

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