KuLeeAngee ‘You’re Fine, You’re High’
Scottish rave duo KuLeeAngee have shared a huge new tune called ‘You’re Fine, You’re High’. The pair have a stellar live reputation, bringing their acid house, electronic and pop influences together in highly addictive and eccentric fashion. The new track follows suit – it’s a huge party anthem that’s destined for the dancefloor, all big choruses and feel-good vibes.
Indoor Foxes ‘All in ur Head’
Just over a year after the release of her debut EP ‘Sadolescence’ last year, Indoor Foxes is back with a punchy new anthem called ‘All in ur Head’. Bringing her nineties rock influences to the fore, it’s another stellar addition to her catalogue that finds her tussling with ideas of self-worth over crunching guitars and driving choruses. Brought to life by producer Jamie Holmes, it’s a deeply personal track that extra weight thanks to her defiant delivery and high-energy instrumental.
BRSR ‘Manmade Fires’
Following the release of ‘Portals’ and ‘Judas’ earlier this year, alt/post metal four-piece BRSR are back with a new track called ‘Manmade Fires’. One of their more personal and emotive releases to date, it’s defined by David Roberts’ impassioned vocal delivery – packed with emotion and feeling for every lyric. Perhaps one of their more dynamic offerings to date too, the quiet/loud dynamic works well – pared back, melodic verses make way for huge, towering choruses, full of trademark heavy riffs and pummelling drums. It means that when the loud moments to arrive, they hit even harder as the track climbs to explosive catharsis.
Caolán Austin, Martha Ffion ‘Feel The Taste’
SAY-nominated and Glasgow-based songwriter Claire McKay (otherwise known as Martha Ffion) has teamed up with Caolán Austin, a producer, songwriter and multi-instrumentalist from Derry, Ireland, for the release of a new single called ‘Feel The Taste’. Bringing together their shared love of noughties electronica and classic indie pop songwriting, it’s a glitchy, propulsive track about focusing on the smaller moments of a relationship.
He says: “It felt almost inevitable that Claire and I would end up collaborating on something at some stage. We already knew each other through my sister-in-law (one of Claire’s closest friends) and I was already such a huge fan of both of her projects (Martha Ffion and Former Champ). I had been writing some instrumentals with collaboration in mind, trying to find some new ground for myself – initially getting inspired by films from directors like Sofia Coppola & Spike Jonze. I sent Claire an idea in that vein and felt like it would be a good foundation for the beautiful imagery and sincere lyrics she writes. After hearing her initial demo of the lyrics, I knew we were onto something special – it felt like musical terrain that we’d both been wanting to explore for a long time.”
“Usually, there’s a melancholic element I’m trying to explore – a kind of ‘happy/sad’ feeling. Even without any real discussion, Claire totally picked up on what I was trying to convey through the music and ran with it – she was describing these small moments that form a collage of a much bigger picture; the ups and downs of romance and how the unspoken, manneristic elements of these relationships can often carry so much weight. They can hold a much greater meaning, particularly when you look a little closer. It can be really important to examine them, cherish them or remember them; for good or for bad.”
Chloe Slater ‘War Crimes’
A few weeks after making her debut at TENEMENT TRAIL. Chloe Slater has shared an unflinching new single called ‘War Crimes’. It’s a poignant, powerful response to the ongoing genocide happening in Palestine, as she says: ‘War Crimes’ is a really important song to me. It feels like the first real protest song that I’ve ever written and an evolution of the musical style developed throughout my first two EPs,” Chloe has said, of her new release. “Lyrically, it’s an ode to all those who feel betrayed and disillusioned by the UK Labour government, whose ideals have become increasingly right-wing since Keir Starmer’s election.
“I wrote the song after watching the genocide of Palestinians being broadcast to the world, and feeling a deep sense of helplessness as our leaders continued to dismiss the problem and enable the oppressors. Playing it live and watching the audience get emotional with me has been really powerful. I can only hope it keeps sparking conversations and encouraging people to think critically about the world we live in.”
What’s more, the artwork for the song was a commission by Palestinian artist Ahmed Al Da’alsa. “Ahmed has lived in Gaza his whole life, and his art and photographs document his daily struggle for survival under the occupation and Israel’s genocide,” Chloe explains. “It is so important right now to be championing the work of Palestinian artists, and to let their stories be heard through their own words and art. I am so grateful to Ahmed for letting me use one of his pieces for the ‘War Crimes’ cover art and so thankful to be able to give more of a platform to his work, however small mine might be.”
Getdown Services ‘Don’t Cheese Me Off’
Bristol outfit Getdown Services have gained cult-favourite notoriety in the last 12 months with their infectious grooves, self-deprecating lyrics and deadpan humour. The pair’s love for the absurd is completely infectious and entertaining, and they’ve been prolific in their output – releasing various EPs and tracks following 2023 album ‘Crisps’. Their latest release is ‘Crumbs 2’ which isn’t exactly new – most of the material is demos and B-sides written at the same time as ‘Your Medal’s In The Post’ and ‘Primordial Slot Machine – but it’s still excellent. The highlight is ‘Don’t Cheese Me Off’ which encapsulates all we love about the duo – full of signature one-liners, irreverent humour and addictive grooves.
Steven Young ‘Sweet Nothings’
Glasgow singer-songwriter Steven Young has shared a new single called ‘Sweet Nothings’. Described as a ‘journey through love, loss, surrender and awakening’, it’s a deeply atmospheric number that pulls from the likes of The Doors and The Last Shadow Puppets in its slick, cinematic arrangement. Rising from a brooding opening, Young’s soft croon is brilliantly delivered – adding sultry drama to his vivid lyrics, twanging guitars and orchestral flourishes.
