Oliver Beardmore (feat Punchlove) - Saintseneca - Penny & The Pits - Anna von Hausswolff - Dandelion & The Drop - The Bats

Photo - Nicole Osrin

Oliver Beardmore - Ammonite (feat. Punchlove).

London alternative singer-songwriter Oliver Beardmore has enlisted Brooklyn experimental shoegazers Punchlove for new single 'Ammonite'. Oliver Beardmore plays a single release show at The Elephants Head in Camden this coming Monday, 20th October. A wistful slow-burn that builds from dreamlike textures into a crushing alt-rock finale, ‘Ammonite’ is a searing exploration of projection and self-inflicted hurt.

Co-produced by Beardmore and Xav Sinden, and mixed by Matt Glasbey (Bloc Party, Sorry, Alt-j), hushed guitars and gauzy atmospheres mirror the push-pull of intimacy and blame, with Punchlove’s Jillian Olesen and Ian Lange-McPherson adding a potent depth to Beardmore’s vision.

On the song's lyrical inspiration, Oliver Beardmore said: "The song is about being drawn to people who share the same insecurities or flaws. We project our issues onto each other, but that weight often causes hurt that no one else is really to blame for. There’s freedom in no longer searching for your flaws in someone else, and relief in calling off that search. In the end, you can hurt yourself more than anyone else ever could - but there’s something almost hedonistic in giving yourself away to someone who’ll let you."

In recent months, Oliver Beardmore has become the support act of choice, playing alongside Gia Ford, Junodream, Late Night Drive Home and Steve Mason, as well as headlining sold-out shows across the UK. With early support already from BBC Radio 1 and BBC Introducing, he’s fast establishing himself as a striking new addition to the UK’s alt-rock landscape.

Oliver Beardmore · Ammonite (feat. Punchlove)

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Photo - Nick Fancher

Saintseneca - Bitter Suite.

This week Saintseneca released “Bitter Suite,” the final pre-release single ahead of their ambitious 21-song double album Highwalllow & Supermoon Songs that arrives on October 31 via Lame-O Records. Imagined as a ten-song landscape (tracks 1-10) orbited by two sonic “moons,” the new song appears on Cinnamon Moon (tracks 16-21), which will be withheld from streaming services and only available on the vinyl LP or for purchase on Bandcamp. 

Saintseneca have also announced a fall album release tour that will kick off on November 5 in Pittsburgh, PA and make stops in New York City, Philadelphia, Asheville, Chicago and more. The tour will culminate in a pair of hometown album release shows on November 22 and 23 at Rumba Cafe in Columbus, OH. 

The album was born from a period of personal struggle when Little hit a years-long stretch of burnout and found unexpected healing and a creative spark in painting. What began as a meditative artistic practice grew into a collection of paintings that became the basis for a solo exhibition in a hospital gallery and ultimately the hand-painted gatefold jacket that houses the new album. Longtime collaborator Glenn Davis helped shape the recording sessions, while producer Mike Mogis (Bright Eyes) brought the songs into full focus with expansive, layered mixes. 

Like the “Green Ink Pen” that sparked it all and appears as a song the Viridian Moon, Highwalllow & Supermoon Songs feels more found than written. “I wanted this album to reflect that—some songs were found on the landscape, others were found on two moons, orbiting that landscape like satellites, disparate pieces pulling on each other, creating a world of song,” Saintseneca's Zac Little explains.

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Photo - Nicole Cecile Holland

Penny & The Pits -Thick Black Gloves. 

Penny & The Pits track "Thick Black Gloves" is a revenge fantasy about retaliating against creeps and stalkers, perfectly encapsulating the sour-mouthed riot grrrl energy praised by Bandcamp. 

Quote: “It pees me off so much that I can't just walk down my own damn street without constantly scanning the shadows!” says Stevens. “The song is a bit of a revenge fantasy for me, but it doesn't necessarily translate directly through the lyrics. So I really wanted to make a music video that could help augment those themes.”

I have this ridiculous leather trench coat that I wear all the time, and men often comment that I look like I'm about to commit a murder. So the trench coat inspired the video, really. I wanted to create an atmosphere that wasn't explicitly violent, but focused more on confidence and dominance.

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Photo - Philip Svensson

Anna von Hausswolff - Struggle With the Beast.

Anna von Hausswolff debuts “Struggle With The Beast”; her nine minute opus of stirring movement, anthemic ritualism, and maximalist composition. The experimental composer and musician fiercely melds the pipe organ, guitars, percussion, violin, viola, cello and double bass with a magnetic saxophone piece from Otis Sandsjö, all with her impending ethereal vocals. 

“I wrote this song after a close friend experienced a psychosis,” von Hausswolff reveals. “There was something unstoppable and completely disconnected about her, as if she were living and reigning in a parallel universe of some kind. She was so far away from the person I knew, as if all of her social barriers had completely dissolved. There was a new, weird brilliance to her way of communicating and being. She had no filters. I'm glad she's back to normal today, but it made me think of how vulnerable and complex we all are, and that there are layers of unresolved trauma and unspoken truths within everyone.”

Anna von Hausswolff’s work carves out space for the celestial and the transcendent to enter into the modern world. Throughout the years von Hausswolff’s releases cemented her as an artist of unpredictable and vast creativity – always moving forward, always fusing tradition with experimentation in unimaginable ways. On ICONOCLASTS, her forthcoming album and first with YEAR0001, her sound evolves again, bringing a poppier and more vibrant element to her moving songs. The album was produced by Anna von Hausswolff and longtime collaborator Filip Leyman, marking a new chapter in von Hausswolff's music and featuring appearances from Ethel Cain, Abul Mogard, Iggy Pop and Maria von Hausswolff.  

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Dandelion & The Drop - Tall Order.

The third and penultimate single from D&TD exercises a departure from their usual variety of reggae-based grooves, into a downbeat-driven soul track, maintaining the sound of Leon King’s meticulous guitar work, soft Flugal and Tenor horn lines, deep dubby bass tones and Dan’s signature vocal sound.

In today’s world of rising division and dwindling opportunity, Tall Order lands with a raw and timely urgency. In a society where youth services are being stripped away, the cost of living climbs relentlessly, and opportunities for progression feel further and further away, Dandelion lends his voice to the unheard. With bolstering empathy, he speaks to the frustration of a generation struggling to be seen, understood, and offered a future. But beyond the critique lies a mindset - resilient, defiant, and necessary - that we can all carry forward. 

The track hits hard. No frills, no filter. Just groove-laden basslines, infectious percussion, and head-nodding rhythms that demand your solidarity on the subject. Dandelion’s verses cut through adversity, weaving through the song with sharp observation. As the song builds, it rises into something more: a fierce, liberating celebration of life - one that insists on joy and coming together, even in the face of struggle.

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The Bats - Corner Coming Up.

The wait is over, thine day doth upon us all, The Bats' 11th studio album Corner Coming Up is out into the world. Since their inception in Christchurch (New Zealand) in 1982, The Bats’ music has earned them indie royalty status. With a devoted following around the world, they remain one of New Zealand’s most cherished and enduring exports, and this album continues their legacy, blazed in greatness. 

The Bats are Robert Scott, Kaye Woodward, Paul Kean and Malcolm Grant, the much-loved indie rock band from Aotearoa. The new album strikes a very distinctive and familiar chord that exists in the hearts of fuzzy-loving fans all round the world. The brand new video for title track 'Corner Coming Up'  is featured today on Beehive Candy. 

Throughout their 40 plus years of existence, and now with album number 11 ready to share with the world, The Bats have stayed true to their roots, creating timeless music that continues to resonate with fans old and new.

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Penny & The Pits - Electric Litany - Lydia Luce - Ketch Secor - The Happy Fits

Photo - Nicole Cecile Holland

Penny & The Pits - Headcrusher.

Penny & The Pits have just shared "Headcrusher" along with a video, whilst the new LP Liquid Compactor is due June 27.  You might be familiar with Penelope Stevens from their role as bass and keys shredder and sometime vocalist in Canadian avant-rock trio Motherhood (whose 5th LP Thunder Perfect Mind came out recently and was described as "wildly entertaining" on Bandcamp Daily and "a welcome, alien presence in today’s musical landscape" on Post-Trash).

We are told that “Headcrusher is about trying to blame yourself for someone else's bad behaviour. But then it's also about refusing to do that anymore and just sending them out to die at sea." Fans of Motherhood, Amyl & the Sniffers, and other jagged and sometimes mathy rock with blown out guitars will find a lot to love.

Liquid Compactor, the debut statement from Penny & The Pits, is the result of Stevens putting their voice front and center for the first time. It’s a gritty, adventurous punk-rock album that processes feminist joy, rage and revenge. Across the album’s ten tracks, Stevens tears through a series of personal and collective traumas with a pulpy sense of exuberance. “I spent a lot of time making challenging work that would test both myself and the listener,” they reflect. “Now, I’m trying to make music that feels good; music that connects the heart to the body.” 

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Electric Litany - Diamonds.

Gleaming with handmade DIY synth chimes, syncopated drum machine drills,  loping Hooky-like basslines, and the otherworldly resonance of the Persian santoor - an instrument now synonymous with the Electric Litany sound; “Diamonds” is an understated gem from the London four-piece. As complexly faceted as it is sparklingly polished, it finds the band distilling the primordial post-punk thrills of early Cure or New Order, via the modern pop productions of the here-and-now to create something both familiar and enigmatic, nostalgic and contemporary, all at once.

With singer Alexandros Miaris’s haunting refrain, of “it’s not too late…” rippling across its multilayered plateaus, his reflective vocal offers a glimmer of reassurance in a track that grapples with this age of uncertainty.

Reciprocating the archival touchstones at the heart of “Diamonds” the track is accompanied by a retro-shaded official video. Taking an unconventional approach, by using vintage BBC 1970s tube valve cameras (bought on eBay for £10), the video shot by cinematographer Ruth Woodside is both fragile and timeless in its aesthetic. Produced by Electric Litany alongside longtime collaborator George Botis, “Diamonds” was recorded at the revered studio Fish Factory, a former fish-packing warehouse in Neasden, London.

Having already road-tested “Diamonds” in the spectacular setting of the Mayan Warrior stage at Burning Man 2025 (as part of Alexandros Miaris’s collaboration with renowned electronic artist Echonomist), the track was met with an electrifying reception on the festival’s main stage and signals the way towards one of the band’s most ambitious and forward-thinking releases yet…

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Lydia Luce - Wisteria.

Nashville-based singer/songwriter Lydia Luce shares her new single "Wisteria," a dreamy celebration of hope and the space to change. Produced by Jordan Lehning (Joy Oladokun, Caitlin Rose, Kacey Musgraves) and co-written with songwriting duo Jake Finch and Collin Pastore (Lucy Dacus), the track gently wraps around Luce's vocals before building into a swell of strings as she declares "Everything seems possible / Anything is possible." The accompanying music video finds Luce exploring the English countryside after the song was recorded at Real World Studios. 

Lydia Luce on the new single: "Quite often I’m at home and I hear my partner laughing or singing to himself upstairs. It makes me so happy. I sometimes can’t believe we are where we are. Our relationship began with substance abuse and codependency and we have found our way to a safe and loving marriage with the help of therapy and the willingness to grow. This song is about hope and believing that change can happen. I feel that way with our relationship and with my chronic pain/injuries. It’s so beautiful it makes me want to cry. We will continue to face challenges and there will be weeks of physical pain but I know we can get to the other side with time. For now it feels so good to sit on my couch with my dog and listen to Ryan sing to himself upstairs."

She continues, "The music video for 'Wisteria' was filmed in the English countryside with Katie Sylvester. We had just finished recording at Real World Studios in Box and we stayed a few days extra to film in the area. We wandered through fields of cows and sheep and filmed at the beautiful Iford Manor gardens." 

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Photo - Jody Stevens

Ketch Secor - Catch Me If You Can.

Old Crow Medicine Show frontman Ketch Secor shares his new single “Catch Me If You Can,” the next offering from his debut solo album Story The Crow Told Me, out July 11 on Equal Housing Records via Firebird Music. Featuring Old Crow alums Critter Fuqua and Willie Watson on backing vocals, the song grapples with the life of a hard-touring musician and arrives with a music video co-starring singer-songwriter Gowa Gibbs.

About the new song, Secor says: “Twenty-seven years ago when I started Old Crow I couldn’t have imagined how people I loved could ever turn into people I once loved. But so are the highs and lows of life on the road in a band. The conditions are right for a few things to thrive and a few more to falter, and ultimately fail. Friendships, allegiances, marriages, these are often the casualties of a life like the one I chose and yet I can’t go back and make it any different, nor would I.”

He continues, “Ever since I was young, people have inevitably made a pun with my name. From Catcher In The Rye to Heinz vs. Huntz, I tell ya life ain’t easy for a boy named Ketcham. One phrase I always heard was ‘Catch Me if You Can.’ Well, last spring when I was going through this catharsis of playing back the hands of time in the proverbial rearview mirror, I sat down with Jody Stevens and wrote this song in a short bittersweet burst. I wanted to explore the feeling of sacrifice that it takes to love someone like me. Someone who probably is going to miss your birthday party because I’m going to be playing a show in Newfoundland, Newark, New Orleans, or Newport News. I hope it was worth it.” 

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Photo - Anna Koblish

The Happy Fits - Cruel Power.

Indie/rock darlings The Happy Fits announced their new album Lovesick will release on September 19th. Their first full-length album in over three years, Lovesick arrives in the wake of an emotional maelstrom in which the band’s world turned upside down in every way imaginable. Rather than let it break their stride, though, the acclaimed quartet leaned into the turmoil, transforming all the heartbreak and uncertainty they experienced into their most exhilarating, adventurous, and cathartic record yet. The band also shared their new single “Cruel Power” along with an official video featuring world-renowned dancer and choreographer Lucy Vallely. A gritty, chip-on-the-shoulder rocker, “Cruel Power” embodies the push and pull of a toxic breakup, inviting heartbreak, if only for the rush.

“This track lives in the messiest corners of attraction,” stated frontman Calvin Langman. “It’s about knowingly putting yourself in a situation that’s bad for your heart, and doing it anyway. The lines between friend and lover blur, and suddenly you’re watering someone else’s plants and wondering how you got here. There’s humor in it, self-deprecation, and a little lustful chaos. I wanted it to feel like a late-night spiral in song form. It captures that ridiculous, electric moment when you know you’re being played—but part of you kinda loves the drama.”

Of the video, Langman continued, “I love one-take music videos. I love how it breaks down the convention of band and crew and it forces everyone to assume the role of performer. Every movement is carefully planned and the entire set has to move like one giant hive mind. This video was a huge group effort.”

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Penny & The Pits - The Boneshakers - Kacimi & Initials MB - Skinny Lister

Photo - Nicole Cecile Holland

Penny & The Pits - Pool Party.

Penny & The Pits is the new project from Maritime stalwart Penelope Stevens. Perhaps best known as one third of the feverish art rock band Motherhood, Stevens is also a vital organizer, collaborator and visual artist in New Brunswick’s weird art and music underground.

Liquid Compactor (album due out on June 27), the debut statement from Penny & The Pits, is the result of Stevens putting their voice front and center for the first time. It’s a gritty, adventurous punk-rock album that processes feminist joy, rage and revenge. Across the album’s ten tracks, Stevens tears through a series of personal and collective traumas with a pulpy sense of exuberance. “I spent a lot of time making challenging work that would test both myself and the listener,” they reflect. “Now, I’m trying to make music that feels good; music that connects the heart to the body.”

That connection is felt immediately on lead single ‘Montenegro On Ice’, a rollicking song about the lure of hard memories and the lengths we go to avoid them. It’s a heady number with a buzz on–confidently skewing the line between vintage Deerhoof and present-tense St.Vincent. ‘Pool Party’, the second single, is an allegorical surf-punk banger about solidarity. It portrays a badass group of femmes who ‘crew up in the deep end’ and ‘shave their heads like Sinead’.

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The Boneshakers - I’ll Kick A Brick (For My Man).

The Boneshakers are back with “Live To Be This”, their 11th studio album and their most electrifying release to date, dropping on July 18, 2025, via renowned Blues Label Gulf Coast Records.

The pair recently signed to Gulf Coast Records and have this to say: "This album is a love letter to the music that shaped us, gritty, soulful, and alive. In a world of digital perfection, Live To Be This is all about real musicians playing with feeling, and we couldn’t be more excited to have some of our favorite artists joining in on the fun as special guests.” – Jenny Langer. "Little did I know that Jenny and I would find ourselves in such great company via Mike Zito’s very cool Gulf Coast Records. Just beautiful, positive energy pouring from all involved, living for music and the musicians. A great new home for the Boneshakers! - Randy Jacobs

The new album follows the band’s previous chart-topping success with “One Foot In The Groove”, which dominated the US Soul Blues radio charts and reached #1 on the UK Blues radio charts. “Live To Be This” vows to bring a raw, electrifying energy that harks back to the band’s original sound, fueled by the emotive vocals of Jenny Langer, who joined as lead vocalist in 2020. Langer, an International Blues Challenge (IBC) winner (Best CD), brings her powerhouse vocals to the forefront, delivering standout performances across every track. Fans won’t have to wait long for a taste of the album, the first single, "I’ll Kick A Brick (For My Man)", just dropped on April 25, 2025.

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Kacimi & Initials MB - Dernier invité.

French chanson meets psych-pop elegance in “Dernier Invité”, the brand new collaboration between Kacimi and Initials MB. Just released (April 25) this bittersweet track blends vintage textures, lyrical storytelling, and timeless flair. A hypnotic invitation into their singular sonic world. his is the first of two joint singles, to be followed by “Aquarelle” on May 23rd. 

Both tracks were recorded in the heart of the French countryside, in Initials MB’s lair – an enchanting 18th-century house nestled in Nord-Isère. The music carries the aura of a life outside of time, blending cinematic pop, psychedelia, and garage rock, much like the two artists’ respective solo productions.

Kacimi and Initials MB go way back – to the buzzing Lyon rock scene of the late 2000s, with their bands The Rebels of Tijuana and The Small Ties. Now reunited, they’ve crafted two songs that started as instrumental compositions by Initials MB and were transformed into haunting lyrical pieces by Kacimi, sung in the language of Ronnie Bird and infused with his signature fuzz-driven sound.

“Dernier Invité” (Last Guest) is a fuzzed-out garage track that pays tribute to soldiers on the battlefield – a powerful and timely anthem in today’s troubled world. Here, the fuzz guitar returns as a sonic weapon for peace. Stay tuned for the second single, “Aquarelle” – a nostalgic English-style country folk song, where pedal steel and swirling organs evoke a faded memory from the late 60s.

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Photo - Josh Massie

Skinny Lister - Song From The Yonder.

Skinny Lister step into Spring with their chest-swelling new single "Song From The Yonder". With Lorna and Dan digging deep to channel their inner Kirsty MacColl and Shane MacGowan, the title-inspiring track of their upcoming new album, ‘Songs From The Yonder’, is a striking duet to stir the soul.

Set to a score of swaying celtic arrangements that lift and lilt the listener along their journey, the song acts as an open and earnest conversation between the couple about love, life, and longing.

Opening-up about "Song From The Yonder", Dan Heptinstall says: “‘Song From The Yonder" is a proper conversational duet between Dan and Lorna. It’s a song about longing and returning from distant travels to where the heart is. It’s also a song about looking beyond petty disagreements, putting things in perspective and embracing the things that connect us.

We’ve not properly explored this duelling vocal approach since "George’s Glass" from our album ‘Down On Deptford Broadway’, and it was a lot of fun to return to writing and recording a track with this kind of dynamic. It’s also a good companion to a track like "Six Whiskies" - with its ‘end of the night’ ‘drunken waltz’ feel.”

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Will Morton - Ruth Lyon - Penny & The Pits - Caravan Palace

Photo - Justin Hammond

Will Morton - Good Ol' Boys Don't Cry.

Rising country artist Will Morton has released the official music video for his latest single, “Good Ol’ Boys Don’t Cry.” Directed and filmed by Justin Hammond, the visually striking video was shot in a Nashville hotel room at night, capturing the song’s emotional weight through its introspective aesthetic.

Morton explained the meaning behind the music video, saying “We shot inside a hotel room in front of the big picture glass overlooking Nashville because I am often gone for work and miss my family. This song is so true and close to me, being about growing up tough, being raised by a single mother, trying to always be strong for her, and knowing how it feels to keep all of that inside. With the birth of my son and raising him, seeing how much love and kindness is in his heart, I just want him to know it’s okay to have and share emotions.”

Set against the glowing city lights of Nashville, the music video features Morton in moments of quiet reflection, looking out over the city, walking along Broadway, and writing lyrics on a notepad. The raw authenticity of the video further amplifies the track’s powerful message, making for a visual experience that resonates deeply with audiences.

Produced by Mark McKee and written by McKee, Morton, and Chris Ayer, “Good Ol’ Boys Don’t Cry” serves as the lead single from Morton’s forthcoming full-length album The Long Way, set for release later this year.

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Photo - Sel Maclean

Ruth Lyon - Books.

Newcastle indie-folk singer-songwriter Ruth Lyon has just announced her debut album 'Poems & Non-Fiction', out 13th June on Pink Lane Records. Out now is new single 'Books', the second taste of the album following the previously released single 'Wickerman'.

Weaving deeply evocative narratives and potent meditations, with an artistry that balances delicacy and strength, 'Poems & Non-Fiction' is a major waymark for Ruth Lyon. Forged by her experiences as a disabled woman and a life-long sense of otherness, she explores the beautiful mess of existence, challenges social norms and ignites a journey towards self-acceptance, empowerment and perhaps most importantly, hope. “I have surprised myself with the raw honesty in these songs and I hope these stories inspire healing and growth,” Ruth says.

Working with acclaimed producer John Parish (PJ Harvey, Aldous Harding) and influenced by artists like Adrienne Lenker, Fiona Apple and Moondog, the songs are rich with poetic nuance and the unconventional insight of a young life lived to capacity—a mesmerising blend of analogue and angular indie-folk that gives as much attention to silence as sound, with understated yet muscular grooves. Shimmering between the abstract, the archetypal and the naked truth, meaning lingers just beneath the surface, daring listeners to both reach out and dig deep; to give emotion a solid, tangible shape.

New single 'Books' is released today alongside a video directed by Sel Maclean. Stop-start strings, plucked and bowed make holes in the texture like a typewriter on paper, weaving in and out of driving piano, bedded by lazy rhythm falling away and returning, all glued together with vocal calls to the echo of a page. Lyon turns a cosmic reckoning on herself “Weigh me today and weigh me in again tomorrow / rocks in my socks, balloons tied round my elbows” that perhaps can be heard as a plea to the fates, wedded with Lyon’s typical Dali-esque imagery.

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Photo - Nicole Cecile Holland

Penny & The Pits - Montenegro On Ice.

You might be familiar with Penelope Stevens from her role as bass and keys shredder and sometime vocalist in Canadian avant-rock trio Motherhood (whose 5th LP Thunder Perfect Mind just came out recently and was described as "wildly entertaining" on Bandcamp Daily and "a welcome, alien presence in today’s musical landscape" on Post-Trash). Here, she is sharing a new single as Penny & The Pits, with Motherhood forming the backing band: "Montenegro On Ice"

Quote from Penelope Stevens: Montenegro on Ice explores memory and the ways in which the past can seep out of its box and drown your present and future. I was feeling the temptation to stew in past pain, choosing to really live in it, y’know? It’s so easy to stick your fingers in your own wounds. So I wanted to make a song that had a jaunty little limp, an endearing disfigurement, that could illustrate the way I was feeling at the time - wounded, absolutely, but sort of enjoying the ride.

The song is part of a larger mythology I’m working out in my songwriting - the allegory of the Liquid Compactor. Water has been an important force in my life, as an emotional cleanser and physical rehab. I’ve been imagining a sentient underwater machine to which I can feed my rage, my ethical malaise, my skewed memories, and allow it to compress these unsavoury bits into little building blocks.

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Photo - Nicolas Patault

Caravan Palace - City Cook.

Before heading out on their North American tour, Caravan Palace (a 6-piece live band and a trio in the studio) are giving the standout track “City Cook” a fresh moment in the spotlight with a brand-new single release. Originally part of Gangbusters Melody Club (Le Plan Recordings), the song now comes in a tighter, punchier edit, perfect for those who like their tunes with a bit more bite. To top it off, the band has teamed up once again with directing duo Double Ninja - who previously brought “Lone Digger”, “Miracle”, “Moonshine” and “Wonderland” to life—for a music video that’s as delightfully offbeat as you’d expect.

About the “City Cook” music video, the band adds: “Once every seven days, a ritual takes place—a ceremony as old as the civilization itself, whether it be ancient or alien. They are bound to a single sense: sight. Their deity, by contrast, perceives all. And so, in fear of what they cannot match, they seal its eyes, stripping it of the only power they themselves possess. From the bowels of the earth, they extract their offering—flesh of beast, flesh of root—feeding a cycle neither questioned nor broken. And with each offering comes a spectacle to behold, a feast for sight alone—pleasure twisted into ritual, excess into sustenance.

What is this but the order of men, subjugating the feminine, binding its body to hunger, to control, to torment without end? Or is it humankind itself, ransacking the world for instant reward, for pleasure stripped of meaning, for wealth that devours all? The deity endures, plundered yet inexhaustible. The cycle turns once more. Meaning shifts in the eye of the beholder. The question remains.”

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