Annabel Allum – ‘Rich Backgrounds‘
Annabel Allum has long been a Spectral Nights favourite and she’s going from strength to strength. Playing shows at SXSW and getting set to release a new EP on the ever-reliable Killing Moon Records, ‘Rich Backgrounds’ introduces another side to her. It’s a slacker-punk song full of fiery energy as Annabel seethes at the attitude that some people think they’re better just because of their privileged upbringing. In fact, you can feel this anger from the very first line: ‘Rich backgrounds, your rich fucking backgrounds’. With huge-sounding production, the song finishes with guitar work that reminded us of Graham Coxon.
Vassals – ‘SoHo‘
Vassals are a Brooklyn-based band who are set to release a new EP on Post Fun Records. ‘SoHo’ is the lead track from this release and it combines woozy and hypnotic guitars with the melodic sensibilities of Real Estate. As well as offering a throwback to the likes of ’90s indie heavyweights Guided by Voices, there’s also a distinctly Modest Mouse feel as the band talk about how ‘there’s nothing here to worry about’ before then going on to plead ‘I wanna feel alright’; ‘I’m swimming in a sea of lies’ in the song’s compelling four and a half minutes.
Doe – ‘Monopoly‘
‘I’m going for a walk, anywhere you are not. How could I make this clear? It’s better when you’re not here… I never liked your family anyway, they used to cheat at Monopoly’ is a hell of a way to introduce a song and here Doe reveal what it feels like to be in a midst of a bad break-up with hooks and honesty. Singer and guitarist Nicola Leel then goes on to say: ‘I’ve grown to hate your face’. Released ahead of a few shows with Honeyblood, this is a big song that will become an anthem for those disillusioned with their significant others – and the video is great, too.
Caroline Lazar – ‘Nevermine‘
My Little Empire Records’ new signing Caroline Lazar grew up on the outskirts of Atlanta and ‘Nevermine’ is the first song to be taken off her new EP. It starts off very intimately with very quiet instrumentaion. Around the two-minute mark, the song finds itself drenched in an eerieness and atmosphere somewhat akin to when Laura Marling lets loose and it’s here when Caroline’s soulful vocals leave you with goosebumps.