Following the breakout buzz of “St Glasgow” and the emotionally raw “Crying in Marseille”, Scottish alt-pop trailblazers Pistol Daisys return with a shimmering new single full of heartbreak, groove, and unexpected truth. “Calling Your Name,” out 30 April 2025 via OneRPM Records, draws inspiration from co-frontwoman Belly’s own experience — an unforgettable night out in Kuala Lumpur that left more questions than answers and planted the seed for what’s now one of the band’s most personal and powerful songs yet.
“It was my first time at Zouk,” Belly shares, referring to KL’s infamous superclub, “My heart wasn’t broken—that was Lorna in Crying in Marseille—but I was surprised by a young six-foot-tall man. I thought we hit it off. One minute we were dancing, and the next, he was gone. When I was leaving, I saw him kissing a man. I called his name, but he couldn’t—or wouldn’t—hear me. That was the last time I saw him.”
Having moved from a conservative upbringing in the peaceful coastal town of Kota Kinabalu to study at Taylor’s University, Belly found herself immersed in a world of late nights, neon lights, and emotional curveballs. “Calling Your Name” captures that jolt of reality—when surface-level charm gives way to something more profound, complicated, and harder to process.
Musically, the track is vintage glitter laced with modern grit—a sparkling lovechild of Blondie and ABBA with a punk-pop bite reminiscent of The Gossip and the flamboyant honesty of Lady Gaga. The result is a dancefloor-ready confession: raw, reflective, and totally irresistible. “It just goes to show that it's an ever-changing world,” Belly says, “What appears to be one thing on the surface doesn't show you the whole truth. “Calling Your Name” is for those who want to keep an open mind… and maybe get a snog off the right guy.”
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Kent-based indie-folk songwriter James Lloyd Smith is set to release another charming and laid-back single, with ‘Lake Walk’ available across all major streaming platforms now. Blending the peaceful nature of Nick Drake and Joni Mitchell with the lo-fi and DIY methodology of Sufjan Stevens, ‘Lake Walk’ is an ode to simple living in the English countryside, which James explains has a strong impact on his music. Born during an introspective time in his life where he became withdrawn socially, he takes solace and peace from long evening walks around the lake at Hever Castle & Gardens in Edenbridge, a routine that shaped the essence of the song's atmosphere.
“The Kent Countryside, sometimes known as The Garden Of England has had a huge influence on my sound,’ James explains. ‘“ try to write music that to some degree reflects how the landscape makes me feel,’ he added, calling the song a ‘thank you letter to the edifying quality of the natural world.”
James Lloyd Smith’s authenticity is what shines on ‘Lake Walk’ as the song is self-produced on the now-obsolete 2011 MacBook Pro, while the beautiful guitar work actually stems from a £10 parlour acoustic guitar he bought on eBay. The production lends some wonderful layers to the track, with a glockenspiel melody that James said was inspired by The Beach Boys’ legendary album Pet Sounds, as well as brushes on a snare drum that underlie a piano, double bass and electric bass. “I wanted to keep the palette of sounds fairly natural drawing from folk music and 1960’s baroque pop as inspirations,” he adds.
Adding to the authenticity are the locations that James used for recording the track. His ode to the comfort found in the natural world is recorded in the places he frequents, including his bedroom, friends’ houses, and college classrooms. In Particular, he arranged a recording session at his friend’s house just to record the single’s double bass. “I think recording outside of the traditional studio setting gives music a different context and quality.”
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Domi Hawken, London’s dark rock poet, has just released her second EP, Water And The Wine following the success of her debut Sociable Pariah. An emblem of her creative expansion and a testament to the deep well of influences she draws from, the evocative and haunting record is out now.
Armed with nothing but a VHS camera and an unflinching vision, Hawken has transformed her debut into a launchpad for something far more ambitious. Water and The Wine is a sonic landscape that varies from climactic instrumentation to vulnerable, exposed folk, showcasing Hawken's growth as an artist and her willingness to try new things artistically. Across three songs, the EP is a tour-de-force that demonstrates true versatility and flexibility from both Hawken and her band.
"With my first EP, we followed a system; I would write the songs, then Matt Robson and I would record it together, with him mostly trying to bring my ideas to fruition," she recalls. "With this second EP, we approached things differently, getting the other members of the band more involved. I remember recording a demo myself of 'Water And The Wine' and sending it to my drummer Cyprien Jacquet to see what he could do with my ideas. When he sent the first version back, he asked me, 'Is this what you wanted?' and I replied, 'No, this is so much better than what I wanted.' From that moment, I was a lot more relaxed with letting the guys put their ideas and their stamp on the songs."
Moving beyond her previous approach, Hawken has embraced a more collaborative method with her band members Matt Robson, Cyprien Jacquet, and Kobi Pham. The result is a grittier, more creative sound that benefits from the collective input of the entire band. While Hawken maintains her involvement in production, the process has become more collaborative, with Pham handling the precise mixing before Robson adds his signature rough edges.
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