Elle Celeste - The Pleasures - Michelle & Jason Hannan feat. Howard Parker - Blunt Chunks - Futurebirds & Carl Broemel

Photo - Sebastian Buzzalino

Elle Celeste - Call On Me.

When Elle Celeste started playing music for public consumption in her early twenties, she wanted to make the most amount of noise and be as wild as possible—screaming her head off and slapping audience members in the face as she fronted an acid rock band. She considered it a good gig, as long as she could hold a note long enough that it felt like she was going to pass out.

A lot has changed since then for the resident of Calgary, Alberta. In 2014, she and her primary musical collaborator Kirill Telichev formed the band Copperhead, making self-described “21st Century folk music” that blended punk, ambient and electronic sounds with traditional elements. Over the course of making two well-received independent albums, and sharing stages with the likes of Art Bergmann, Elliott Brood, Lindi Ortega, Terra Lightfoot and The Strumbellas, Elle got exposed to the wider music world and where she envisioned her place within it.

It’s led to Elle Celeste’s debut solo album, Call On Me—released independently today—which builds on the foundation that Copperhead laid, taking it into more expansive musical territory while delving deeply into Elle’s personal experiences through its lyrics. Although Telichev still played a major role in the creation of Call On Me, it became a moment when Elle felt confident in taking full control, making fully fleshed-out demos and harnessing the full range of her unmistakable, smoky voice, which some may liken to Sharon Van Etten or Cat Power’s Chan Marshall.

Recording got fully underway in December 2019 at the National Music Centre in Calgary, overseen by Casey McMechan, better known as the Techno DJ/producer Tyrek. When lockdown restrictions halted their work in the studio, sessions continued remotely over the next 18 months, with Telichev eventually coming on board to co-produce several tracks and mix the end results. In spite of all of that, Call On Me is a stunningly cohesive collection that utilizes modern technology to fully express Elle’s unflinching songwriting.

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The Pleasures - Every Story Has Two Sides.

“Every Story Has Two Sides” is the hotly anticipated follow-up to The Pleasures’ barnstorming debut single “The Beginning of the End”.

As two of Australia’s most loved and respected country and Americana artists, the union between Catherine Britt and Lachlan Bryan was destined to turn heads - and “The Beginning of the End” certainly did that. Released in January of this year, it quickly lit up YouTube, Spotify and Apple Music, as well as scoring high rotation on Double J, ABC Country, ABC Local and iHeart Country. Add to that the support of CMT in Australia and the USA, and airplay on many programs in the UK, including shows across the BBC.

“Now it’s time for the next chapter”, says Lachlan of the new single. “Far from being a token duet, Every Story has Two Sides couldn’t exist without the both of us. It’s as much an argument as it is a song - filled with passion and desperation - when we sing this live it feels like we’re actually screaming at each other - and it felt like that in the studio too”.

The new release coincides with The Pleasures’ second short South Eastern tour, including a festival appearance at Dashville Skyline and live dates in Victoria and NSW. The band includes brilliant multi-instrumentalists Damian Cafarella and Brad Bergen on bass and drums, respectively.

"It's very exciting to be releasing another taste of this raucous project and to be hitting the road with the band again”,says Catherine. “Every bit of this record screams heartbreak and sticky pub floors and this next single is no exception to that!”

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Michelle & Jason Hannan - Wastelands (feat. Howard Parker).

“’Wastelands’ is a song I wrote that compares the end of a long relationship with being trapped out in the badlands. I wanted to write something with a dark feel that would introduce the concept of the album, which mostly features songs from the darker side of life. Howard Parker’s pedal steel and dobro set the mood and Michelle just sings it to perfection,” says Jason Hannan, the song’s composer.

Besides Michelle (vocals), Jason (guitars, bass, mandolin, drums, vocals) and Howard (pedal steel, dobro), “Wastelands” features the talents of Patuxent Records recording artist Shannon Bielski on fiddle. Both the single and the upcoming album are produced by Jason Hannan and Howard Parker.

Michelle & Jason’s last album, Cheater’s Waltz, met with critical acclaim and was included on many country/Americana publications’ “best of” lists for 2021. As with Cheater’s Waltz, Michelle & Jason’s new album Out There in the Dark will feature the talents of Howard Parker on pedal steel guitar, dobro, and vocals.

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Blunt Chunks - Wasted.

The Toronto-based project, Blunt Chunks, helmed by Caitlin Woelfle-O'Brien (of Jaunt) has today returned with her new single, "Wasted" which is out now as part of the Fire Talk Records Open Tab series. The new track follows the self-titled EP which was released in May via Telephone Explosion Records and found widespread acclaim.

The new single, "Wasted" finds Woefle-O'Brien – who collaborates with the likes of Scott Hardware and members of The Weather Station, Broken Social Scene and Luna Li as part of Blunt Chunks – wrapping forlorn piano around gentle, atmospheric percussion, melding this with her celestial vocals. She once again taps into her unique blend of spacious, psychedelic country to explore deep emotions and balance the light with the dark. Speaking about the track that comes produced by David Plowman (The OBGMs, Islands), Caitlin says:

"This was really fun and intense to do. I got together with my producers and a few good friends who are wicked musicians and we put this song together in a few days. It was different from the way we recorded the EP, which took more or less two years. David Plowman pulled not one, but TWO all-nighters because he had to catch a flight and needed to finish the song beforehand. Honestly, the last couple of days recording this song were hectic but I trusted in the process and David’s perfectionism. We had a few revisions and just kind of did the best we could in the minimal time we had. I think it turned out beautifully and also reminiscent of some 90’s songs I love, it’s giving Mazzy Star vibes a little bit."

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Futurebirds & Carl Broemel -  Bloomin Too (E.P).

Indie rock band, Futurebirds, have teamed up with guitarist/producer Carl Broemel from My Morning Jacket to create a new EP, Bloomin’ Too. Bloomin’ Too follows the releases of “Buffet Days”, “Sinz & Frenz”, and features the brand new track, “St. Teresa”.

Along with the EP release, today the Futurebirds announce the forthcoming release of the Bloomin' LP, a compilation of the two Bloomin' EPs into a full-length vinyl album. Delivered on heavyweight vinyl, the limited edition LP is expected to hit stores May 26, 2023.

Recorded at the legendary Ronnie’s Place in Nashville, two worlds collided building a sincere kinship and solidarity. Futurebirds’ Carter King says, “Carl is really in tune with what the band is and what it strives to be. He’s engaged and understands our vision…And it’s great to be able to defer to someone you respect so much with creative decisions in the studio…”

“Buffet Days”, “Sinz & Frenz”, and “St. Teresa” are all part of the seven-track collection which sets the tone and meaning. The EP in itself is “a vortex of sonic textures”, says writer Garret K. Woodward. He goes on to say that this, “album ricochets from cosmic space, rock to rough around the edges, alt-country dreamscapes, sandy beach bum odes to kick in your step pop ballads — all signature tones and musical avenues at the core of the Birds' wide musical palette.”

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Blunt Chunks - The Best Around - Fransis - Cola

Blunt Chunks - Part Of Me.

The Toronto-based project, Blunt Chunks, helmed by Caitlin Woelfle-O'Brien (Jaunt) has just shared "Part of Me" (which features Brendan Canning of Broken Social Scene), the latest to be lifted from the forthcoming debut EP, Blunt Chunks which is set for release this Friday, May 6 via Telephone Explosion Records. Featuring Scott Hardware and members of The Weather Station, Luna Li, Hooded Fang and more, the new EP, which has found tips so far from Paste, FLOOD, Brooklyn Vegan, KCRW, Exclaim, CBC Radio and more, grapples with the many functions of heartache, using music as a mechanism to memorialize the past and the first step to breaking a cycle of self-neglect.

Produced by David Plowman (The OBGMs, Islands) and Nathan Burley (Young Clancy), the EP harnesses a weightless style of guitar-driven pop where Woelfle-O’Brien blends spacious psychedelic country with the unignorable churn of 90s alternative rock. The result is a record deeply uncomfortable with secrets. Woelfle-O’Brien opts to honor — with a Dolly Parton-esque devotion to clarity — her motivations for past entanglements, both devastating and exalting. And yet, the EP rings with quiet optimism, steadfast in its search for the kind of love that’s attentive, honest, and transformative.

"Part of Me", which arrives with a stunning visual, directed by Woefle-O'Brien and Emma Cosgrove and features Canning of Broken Social Scene on piano and back vocals, arrives as the final advance installment of the forthcoming Blunt Chunks EP. It returns to some Woefle-O'Brien's more intimate, soothing sounds, reckoning with the idea that as you grow older, the people you once love are inherently a part of you despite you occasionally wishing they would leave you.

"I wrote this not long after being in Berlin about realizing how the people you love are inherently a part of you and how sometimes you want them to just get out of you," explains Caitlin, "but also that you desperately want them to love you right and give you all the things you need... but then you realize you have to do the self-improvement on your own. I also think this song is kind of a narcissistic anthem... “me me me, I want this, blah blah blah”. It’s very self-involved and just a pleading cry to the heavens to be a better person and have a better life and be loved. It’s got a real element of fantasy and desperation. I recorded a demo of it in the studio one night kind of free-form (I hadn’t figured out a structure yet so it was essentially improvised) and we just built the whole song on that recording! David had a wild idea near the end of the recording process to add a “choir”. We reached out to some amazing singers/musicians and they agreed to record at home and send it in! I’m seriously honored."

 
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The Best Around - Didn't Come Here To Count 'Em.

"Didn't Come Here to Count 'em" is an adrenaline shot from the first note to the last. Multi-instrumentalist Todd Pruner kicks the song off with a string-bending Telecaster lead that is sure to knock over some tables as people jump to their feet. Pruner also plays the bass, acoustic guitar and microKorg synth on the track. 

Multi-instrumentalist Jon Merz drives home the chorus with this trumpet and trombone horn section, raising the energy to the roof. All the while, singer and songwriter, Camron Rushin tells the tale of a light-hearted sot on a bender who is secretly burdened by being the "victim of the ages." At each stage of his journey, our hero is interrogated about how many he's had to drink — with the song's refrain serving as his response to each inquiry. The song reaches a climactic ending as the band heads into jazzed-out, wall-of-sound territory.

Rushin discovered the key line in the song years ago while out with his family when his aunt asked his uncle how many beers he had had to drink. "I didn't come here to count 'em. I came here to drink 'em," he replied. While laughing at the sarcastic retort, everyone in the groups' ears piqued as they almost all said in unison, "that'd be a great line for a country song."

The Best Around formed at the beginning of the pandemic in March 2020. To conform to social distancing measures, they didn't meet to practice and write, but instead recorded each of their parts in their own respective home studios, tool sheds, and closets. Very little instructions were given as tracks were passed back and forth, leading to a sense of freedom in collaboration that can be heard across the recordings.

The Best Around · Didn't Come Here To Count 'Em

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Fransis - Honeymoon.

Fransis are a four-piece, London based alt/indie band made up of front woman and singer-songwriter Emma Withers, along with guitarists Alex Scott, Stefan Kotlarz and bassist Craig Rattray. Formerly known as Emma & the Idles, the band have been hailed as 'Jessie J meets Joan Jett', making a name for their balls to the wall approach to their sound and sharp songwriting style.

Reminiscent of Wolf Alice and Florence + The Machine, Fransis make music that smacks you in the face in a slightly different way, and whilst they float between genres of rock, indie, pop, soul and blues; they show an unrelenting penchant for dramatic, powerful and meaningful music. After busking on the streets of London and making a name for herself as a unique and energetic performer, powerhouse singer Withers decided to form a band to accelerate the sound she so desperately wanted, and boy did she get it. Fransis was born.

“Honeymoon” is the first single to be released off of their upcoming EP, which narrates a journey of womanhood. The story starts with “Honeymoon”, taking a fond look back on the sweetness of childhood rebellion and the sense of freedom and indestructibility you feel as a teen. Withers lyrically recounts stories from her formative years as her now adult self, sharing “It’s nice to have an uplifting sense of appreciation for my own personal experiences which have moulded me even if they didn't seem so poignant or great at the time, how we know not what we have until it’s gone. With that being said there is nothing melancholy about this narrative, I have such a tenderness and affection for my teen self, an enjoyment to revisit her and a continuation of personal growth and one day looking back at myself now with a similar fondness.” Singing, “It was a honeymoon, a cocoon, feeling like someone new”, the music is driving yet ethereal with pop elements that will have you singing the hook all day long.

Giving us a taste of what to expect from the EP, “Honeymoon” is just a hint of the outpour of emotion that they are forecasting. To celebrate their EP release, Fransis will be hosting their very own launch party at The Water Rats in London on 1st July 2022.

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Cola - Degree.

In February, Cola, the new project from former Ought members Tim Darcy and Ben Stidworthy and US Girls/The Weather Station drummer Evan Cartwright, announced their debut LP Deep In View (out May 20th on Fire Talk Records). With the early singles "Blank Curtain," "So Excited" and "Water Table" immediately earning praise from outlets like Pitchfork, NPR, FADER, Stereogum, Uproxx, Paste, BrooklynVegan, Consequence, Clash, NME and Rolling Stone who named the band an Artist You Need To Know and called their debut "one of the year’s most thrilling rock statements," the album has rapidly become one of the most anticipated releases of a busy spring.

"The character in 'Degree' is cycling in and out of these dreamscape states (movie theater, meditation, etc) and then trying to catch up to something in their day to day life," says Darcy. "I picture what it feels like running to catch the bus when you're in a daze and suddenly have to sprint."

"'Degree' is based on a 2-step kinda track I produced while trying to do the fabled and well-trodden path of using guitars in electronic music," explains Stidworthy. "I came up with this psych-drenched outro that I really enjoyed so I decided to base a song around that chord progression."

"I wanted the beat to feel like the opening and closing of a mechanical valve," Cartwright adds. "The guitar riff supplies this relentless propulsion and I thought that the drums should act as a stiff regulator: aggressively blocking, then releasing the heavy flow that comes pouring out of the guitar."

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Blunt Chunks - Chelsea Rose - Mise en Scene

Blunt Chunks - BWFW.

The Toronto-based project, Blunt Chunks, helmed by Caitlin Woelfle-O'Brien (Jaunt) has just shared its "BWFW", the latest to be lifted from the forthcoming debut EP, Blunt Chunks which is set for release on May 6, 2022, via Telephone Explosion Records. Featuring Scott Hardware and members of The Weather Station, Luna Li, Broken Social Scene, Hooded Fang and more, the new EP, which was announced with "Natural Actors" (tipped at Brooklyn Vegan, KCRW, CBC Radio, Exclaim and more) last month, grapples with the many functions of heartache, using music as a mechanism to memorialize the past and the first step to breaking a cycle of self-neglect.

Produced by David Plowman (The OBGMs, Islands) and Nathan Burley (Young Clancy), the EP harnesses a weightless style of guitar-driven pop where Woelfle-O’Brien blends spacious psychedelic country with the unignorable churn of 90s alternative rock. The result is a record deeply uncomfortable with secrets. Woelfle-O’Brien opts to honour — with a Dolly Parton-esque devotion to clarity — her motivations for past entanglements, both devastating and exalting. And yet, the EP rings with quiet optimism, steadfast in its search for the kind of love that’s attentive, honest, and transformative.

This new single signposts a change in Caitlin's approach to music switching out some of the intimate soounds for something a little heavier and more adjacent to the alt-rock tones that occasionally litter the EP. Speaking about the new single, she says: "I wrote this one while in Berlin in 2019. I was visiting a lover and he really made me feel unwanted. I ended up leaving his place and staying at a friend's warehouse art studio where I was much freer to create. I had gone out to Berghain and ran into his friends and ended up joining them at a concert... and I was secretly doing drugs in the bathroom alone because I felt so out-of-place and insecure. That was a “teetering on the edge of mental-breakdown” kind of night."

"I wrote the song the next day in the warehouse with all that anger and sadness. Originally the song was much more grungy and Nirvana-esque on a de-tuned open tuning, but as we produced it we drew on the Avril Lavigne vibes. This was a really fun, epic recording process. It’s an obvious SMASH lol, so we were all really excited to get our pop-punk dreams fulfilled and just go all out. Vocals are from the studio demo because I happened to have a strong vocal day so we just kept those. I wrote the second verse on the spot the day we recorded the demo, as originally it was just one verse."

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Chelsea Rose - Down The Street.

Truth or Consequences, the debut album from L.A. artist Chelsea Rose, is a sophisticated pop record with a timeless sound touching on bossa nova, jazz, and 60s pop, with deep lyrical introspection reminiscent of the classic 70s singer-songwriter canon.

Rose spent her twenties fronting sunshine pop group Summer Twins with her sister Justine (Easy Love), releasing two full-length LPs and touring as far afield as Japan and Brazil before abruptly coming to an end when a pipe burst in her home studio the night before the band’s final show, flooding the room filled with instruments and other gear. But rather than giving up on music, Rose took this as a sign from the universe that it was time to move on.

“I feel like Summer Twins was a younger version of me,” she says. “This record is like an older version that has been through a little more, been through a lot of heartbreak and facing the reality of growing up, and living in LA and struggling with making a living being an artist, and keeping that dream alive.”

Rose has created a collection of songs that feel sunny and familiar, but still brim with a worldly, authentic sensibility. Throughout the pandemic, Rose learned a lesson in patience, taking the time to ensure that every track on Truth or Consequences was a true reflection of her artistic vision and the hard-won confidence that comes from committing fully to it.

The message of Truth or Consequences is right there in the title—take a chance and live your truth, or bear the consequences…and so it is on the buoyant “Let Go,” where Rose offers counsel to anyone struggling to believe in their own dreams: “Reach out your hand/ It’s yours to have.”

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Mise en Scene - Nicer.

Winnipeg’s Mise en Scene share “Nicer”, their first new music since their 2020 LP Winnipeg, California. The single perfectly captures the essence of Stef Blondal Johnson and Jodi Dunlop’s sound – sun-drenched alt-rock with an enviable chemistry and effortless hooks.

“This song was born out of turbulent times,” explains Stef. “It is about being stuck in a relationship low-point where you are always fighting, you can’t get on the same page or see eye to eye, and you just wish you could both be a little nicer to each other. You wish you could find that love again so that you can get past this hard time. “

“On a larger scale,” continues Stef, “I feel this song is relatable to today’s social climate. We are coming back into the world after years of being locked up and we are impatient with each other, we have been cruel to each other. We need to find the energy within our exhaustion to be nicer to each other, we all know we need it.”

“Nicer” was produced byJohn Paul Peters (Begonia, Comeback Kid) at his studio, Private Ear Recording. The accompanying lyric video features Jodi and Stef’s 3-month-old puppies. In the video the pair are seen learning how to play with each other without hurting each other on Lake Winnipeg as a metaphor for the song’s lead line “Could you be a little nicer to me”.

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Blunt Chunks - Josephine Philip - Alice SK - Nadia Sheikh

Blunt Chunks - Natural Actors.

The Toronto-based project, Blunt Chunks, helmed by Caitlin Woelfle-O'Brien (Jaunt) has now shared its new single, "Natural Actors" which comes with the news of a debut EP, Blunt Chunks which is set for release on May 6, 2022, via Telephone Explosion Records. Featuring Scott Hardware and members of The Weather Station, Luna Li, Broken Social Scene, Hooded Fang and more, the new EP grapples with the many functions of heartache, using music as a mechanism to memorialize the past and the first step to breaking a cycle of self-neglect.

Produced by David Plowman (The OBGMs, Islands) and Nathan Burley (Young Clancy), the EP harnesses a weightless style of guitar-driven pop where Woelfle-O’Brien blends spacious psychedelic country with the unignorable churn of 90s alternative rock. The result is a record deeply uncomfortable with secrets. Woelfle-O’Brien opts to honour — with a Dolly Parton-esque devotion to clarity — her motivations for past entanglements, both devastating and exalting. And yet, the EP rings with quiet optimism, steadfast in its search for the kind of love that’s attentive, honest, and transformative.

This first single, "Natural Actors" is a stunning intro to the new EP gently placing Caitlin's scintillating vocals on top of twinkling piano and off-kilter percussion. Speaking about the track, Woelfle-O'Brien says: "I wrote this song in 2015/16 when I was in a relationship with someone who I was also living with. He would go to work in the mornings and I would wake up slow, drink too much coffee, and kind of mill about until I went to work in the afternoon.

"This day I had eaten cotton candy for breakfast (leftovers from going to The Ex – a big fair in Toronto – the night before) and had too much Turkish coffee and was wired. I had been drinking wine every night since the previous holiday season so I was a bit ashamed of my health. I sat down and wrote the song in one go and recorded it into my laptop mic. As I finished the recording, my partner walked through the door. It was about him but hopefully he didn’t hear it, lol. The beds were recorded at the now-defunct Trailer Studios in the East End of Toronto. People say the lyrics to this one are strange/unique and I guess that’s true! It’s just a domestic song, I feel like it’s my “unhappy housewife” song. Like a woman in the wrong place for her own light to shine. I’ve struggled with that a lot over the years."

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Josephine Philip - Little Boy.

Little Boy is the 4th single from Josephine Philip’s forthcoming solo album We Get Lost And Found. The song is released on her label Midnight Confessions. Little Boy fragile and poetic song about breaking free of the heavy chains of lost love. Releasing yourself from the sedated state of delusion. The composition reflects this state of mind; sometimes on the verge of collapse, returning with intention and hope, shuffling drums, hazy vocals, distorted guitars, and lyrics like a mantra for release.

Josephine Philip lives and works in Copenhagen. She is inspired by a wealth of artistic expression; choral works, contemporary art and performance, jazz standards, experimental music, film, literature and classical music, and uses this inspiration to tell her engaging tales and stories. Philip released her debut single as a solo artist, Call My Name in May 2021 and her second The Clue in October 2021. Both songs have been in heavy rotation on Danish radio station P6 Beat and have been very warmly received on both Danish and foreign music media. In March 2022 she released her 3rd single No. 7.

The new album - We Get Lost And Found - is written and produced in collaboration with Copenhagen based producer and musician Lasse Martinussen and will be released in May 2022. Josephine Philip was one half of the now defunct dynamic duo JaConfetti, was a founder of and served time in the all-female Ska outfit Favelachic and the dancefloor popular sound system Dullen & Dyken.

The singer crosses genres, having worked with several renowned producers including co-writing and featuring in Christian Löffler’s ‘Running’ (which would appear in the Our Girl Series) and ‘The End’. As one half of the duo Darkness Falls, Josephine Philip has worked with Trentemøller, who acted as the producer for their EP and album. The duo also won a Robert prize (the Danish version of the Oscars) for Original Song of the Year for their contribution to the Danish film Shelley. During this time, they opened for the likes of The Shins and Yelle. Independently, Josephine has toured with Trentemøller performing at major festivals such as Coachella and South by Southwest while earning support from publications such as Nothing But Hope And Passion, VENTS Magazine, Electronic Groove, and EDM Sauce.

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Alice SK - Sweet Like Honey.

Alice SK has been raising eyebrows with a series of vintage-noir style singles recently that combine her haunting soulful voice and fresh sounds of the London scene that express authentic stories and work their way into the soul of the listener.

Next, Alice SK presents, “Sweet Like Honey”, a guitar pop song about all consuming affection. The instantly infectious track accelerates in its chorus with a Strokes-esque fuzzy lead guitar and an art pop style recalling perhaps Liz Lawrence or Bat For Lashes, with Alice’s own guarded charm coming through in her softly yearning vocals. 

The single comes from Alice SK’s forthcoming debut EP “Electric”, produced by Muca (Los Bitchos, L.A. Salami) and set for release on 25th March. It follows Alice’s tracks “Another Girl's Man”, “Hidden Paradise” and most recently “Run Away”. Alongside Brazilian bossa nova legend Roberto Menescal, Alice also featured on Muca’s single “Until We Meet Again” which caused a stir during the summer and the track will also be released as part of the EP package.

“Sweet Like Honey is about longing for the whole of someone and wanting another person to take away your troubles”, says Alice. “It’s about being able to lean on them completely and be vulnerable around them.” She adds. And throughout “Electric”, Alice shows this ability to unveil complex emotions and convey candid personal stories within simple yet engaging musical gems. The EP is like opening up a beautiful trinket box of intriguing and eclectic keepsakes that invite you into Alice’s deep and melancholic world.

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Photo - Birgit Murd

Nadia Sheikh - Deep Waters.

Serene and sulky in equal measure, “Deep Waters” is a tender track that sees the singer-songwriter artfully weave creamy vocals amongst glistening acoustic guitar lines. Demonstrating her knack for combining heart-on-sleeve singer-songwriter sensibilities with a more anthemic alt-rock approach to instrumentals, the hazy new cut is plucked from Nadia Sheikh’s new EP ‘Undefined’.

Speaking on the origins of the track, Nadia Sheikh says: “”Deep Waters” holds a special place in my heart. I wrote it when I was really young but it’s one of those songs that just sticks with you through the years but never quite fits with what you’re doing — until “Undefined” arrived. It just felt natural for it to be the focus track of the EP and I’m so happy with the reaction people have had to it. Many say it’s their favourite song off the EP!” 

With gauzy guitars that linger in the air like mist on a dusky winters day, “Deep Waters”’s ansty calm is paired with a befitting new video that was directed by Nadia alongside Rita Gratacòs. Tranquil but with a distinct dark undertone, the video sees Nadia joined by her band — Rowan Davies (bass) and George Gardiner (drums) — as the trio play through a rendition of the song while perched on a blustery clifftop in front of overcast skies. Aptly filmed on a drizzly, dismal day, Nadia explains of the video’s inception: “It may not look like it, but it’s a very DIY and low budget video. 

It was filmed on a very cold, very windy, very wet day in November last year. It was well worth it though. It’s shot only on a handheld camera. The boys, Rita and I drove to Seven Sisters and all the outdoor shots were filmed in one morning/early afternoon. We didn’t have a lot of daylight and we only had one shot at filming this. The weather was both kind and inconvenient, but we made it work and we’re all so happy with the result.” With shots of Nadia submerged under water interspersed amongst clips of thunderous waves and sputtering sea spray, the video comes to a close with a subtle twist. 

Nadia adds: “I really wanted to create a dream/reality juxtaposition in the video playing with the water reference, but it was clear I couldn’t swim in that weather, so I came up with the idea of the bath shot at the end (watch until the end!). I think it really represents the moodiness but also the calm of the song.”

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