LISTEN: LIINES – ‘Holding On’

The first new single from Manchester’s LIINES since 2021, ‘Holding On‘ blends the post-punk grit that they are known for with a raw emotional depth that draws you into the vulnerability of the track. A song about hope and desperation, the ache in the delivery makes it impossible to ignore how those two sensations can often be two sides of the same coin.

The song broadly centres on a connection that has shifted into dissatisfaction; not going into specifics, the lyrics focus on feelings of anguish. The verses are simple and direct, narrowing in on the physical sensations that go hand-in-hand with the emotions at the core of the song, leaving them at the forefront of your mind as it leaps back into the powerful choruses. Zoe McVeigh’s vocals ache with the emotion of the song, as the repeated lines “… and I’ll wait for you” are delivered with a tone that shifts as the feelings behind them shift with the passage of time. It starts out confident that the wait won’t be too long or arduous, then becomes increasingly forlorn as that confidence wavers, until it is finally belted out in a desperate plea for that confidence to return; clinging to the last of the hope as desperation takes over.

Throbbing bass and drums create the foundation for the track. Combined, they create a heartbeat that begins with a consistent but fairly gentle rhythm, then ramps up to with a fierce energy as the song reaches its most intense moments. Wailing guitars match the intensity in the vocals perfectly, until at last the instruments fade away allowing the vocal cry to ring profoundly out into the silence.

Keep your eyes and ears peeled for more from LIINES throughout 2024!

Kirstie Summers
@ActuallyKurt

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WATCH: Roller Derby – ‘Dreams’

‘Dreams’, the latest single from Hamburg-based Roller Derby, is a sparkling, ethereal song about the intensity of relationships. The track is a captivating blend of synth-pop, drawing inspiration from the genre’s early origins, while infusing splashes of a contemporary indie sound.

The track opens sparsely with a vocal line accompanied by a washy synth, until a stirring drum beat and warm synth bass line enters, giving the track a blissful foundation. The highlight musically comes as the swirling guitar licks ooze a captivating New Wave energy, bringing to mind Depeche Mode and The Cure, and giving the track a darker edge. 

Lush harmonies enter, accompanying the well-delivered vocals and melancholic melody as the song grows into something much larger, taking you on its journey, gradually introducing new elements and sounds in the textured and layered soundscape. A real pleasure for the ears; a testament to the slick production style of Moses Schneider. Building from melancholic to euphoric, the lush musicality mirrors the emotive theme of the reflective lyricism.

Since forming in 2020, Roller Derby have swiftly been making waves – having performed at festivals and prominent showcases such as SXSW and Reeperbahn Festival, as well as recently selling out a headline show for us at The Shacklewell Arms; continuing to captivate audiences with their unique blend of synth-pop and indie influences.

The accompanying music video, directed by Stephanie von Beauvais, perfectly visualises the ethereal atmosphere of the track with a trippy, psychedelic allure, vibrant colours and rippling imagery. Roller Derby are clearly a band who have a truly well thought-out vision and know what they want to achieve, and I look forward to hearing more from them throughout 2024.

Ella Patenall
@ella_patenall

Photo Credit: Johann Kressin

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LISTEN: Charley Stone – ‘Better With You’

The PR for the latest Charley Stone single describes her as a ‘scene queen’. Hype, you may well initially think, but Charley’s been more than prolific for a long while. Having played with the likes of Salad, Charley currently plays guitar on tour with both Sleeper and Desperate Journalist. Her tribute band work is almost a Wikipedia page in itself: The Fallen Women (an all-female Fall karaoke band), ABBA Stripes (ABBA played by a White siblings-esque duo), Hive Fives (part of The Hives franchising of their own band) and The Dumb Blondes (a Dolly Parton tribute), to name just a few. Now, after so long playing others’ parts, Charley Stone is prepping to release her debut solo album, with musical support from her group, The Actual Band.

Before the album is released next month, Charley brings us its second single – ‘Better With You‘, the follow-up to last month’s ‘A Scream’.  But where the latter was spacey and darkly psychedelic, ‘Better With You’ finds us very much at the kitchen-sink, with Charley’s lyrics outlining the image of a couple making the misstep of travelling to a wedding. Musically, it’s more raw too; the association with The White Stripes is apparent here, with the guitars stripped back and fuzzy and drums way up in the mix, and there’s a resemblance to The Lovely Eggs in there – no great surprise given Holly Ross’ own Britpop to neo-garage trajectory. In addition, with the lyrical evocation of chaotic people combined with lo-fi guitar, there’s also an echo of Wild Billy Childish’s work from the noughties, albeit with vocals that sound somewhat akin to Lush’s Miki Berenyi. That’s not to say that this has been simply slung together, even if – as Charley herself describes it – the track was virtually recorded as live, “guitar solo and all”.

Lyrically, the track heads in one direction, indicating that the pair it depicts are simply “better with” each other, before its spoken-word middle eight undoes all of our understanding. And that’s sort of the rub; Charley Stone clearly has lyrical and musical chops, and ideas for what she wants to do, it’s just (as she said in a recent interview), “all my experiences with bands…were synthesising into something inside me that I now need to do”. And it’s to our benefit that she has: as all her various bands already know, everything’s better with Charley.

Here Comes The Actual Band, the debut album from Charley Stone, is out on 29th May.

John McGovern
@etinsuburbiaego

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LISTEN: tall child – ‘Damaged’

tall child, formerly known as ZHA Gandhi and previously associated with projects like Buggs and Luce Rushton (fka TV Room), has now released their debut single ‘Damaged‘. With a full band now in tow, tall child is making a name for themselves in London, having played headline shows at iconic grassroots venues like The George Tavern and supporting artists like Bel Cobain at Matchstick Piehouse.

Their soulful vocals enter straight away and are then accompanied by dreamy ripples of clean electric guitar, whilst the haunting and captivating melody immerses your ears straight away. Bringing to mind artists such as Orla Gartland and Lucy Dacus, with the ethereal shades of Mitski, their vocals shine through with a subtle soulfulness.

Soon, a lush harmony enters with a folk-strewn depth and gentle jazzy drum beat, adding a pleasing rhythmic layer and progressing the song. With melancholic undertones, the vocals shimmer with emotion complemented by delicately plucked guitar – “maybe I should count my blessings ‘cos I’m not like you, I’m nothing like you”. The song is an “introspective exploration of a turbulent parent-child relationship”, reflecting on the idea that they are glad to have not inherited the toxic traits from their absent parent. A beautifully cathartic ballad, flowing with stirring emotion.

Of their songwriting, Zha notes:

“For me, this project is about pushing the boundaries of songwriting through the analysis of personal trauma and reflection. I wanted to create a space that merges all my musical influences into one to form a truly unique sound. I’m hoping that someone with a troubled relationship with a family member can relate to this song and that it reminds them of their autonomy...”

The song builds up in energy before being brought down for the bridge, offering a slower breakdown and some time for reflection. Awash with glistening harmonies, delicate cymbals and layered voices, it’s emotive but uplifting; an acceptance. It builds gradually but brilliantly before reaching a climax and ending back on a gentle chord. ‘Damaged’ really takes you on a journey and at a lengthy five minutes, it manages to hold your attention throughout its subtle twists and turns, with a heartfelt honesty.

As for what’s next, tall child will be playing more gigs – “taking up space as a queer black artist” – and further developing and carving out their original style. A single release listening party show followed by an upcoming EP is soon to be announced, so keep your eyes peeled! 

Ella Patenall
@ella_patenall

Photo Credit: Jody Evans

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