WTHB Ones To Watch 2024
2023 was an interesting one for music. Billie Eilish took over the world of Barbie, we saw Elton John bring his long career to an end with his last UK performance at Glastonbury and Ezra Collective - a jazz group won the Mercury Prize.
So it is safe to say, the past twelve months has certainly kept us on our toes! New music flies by at such a fast pace these days, with the world of TIk Tok and social media creating a new trends every day - it is hard to keep audiences fully engaged with fresh sounds. But sometimes things seep through the cracks - clearing the mist in the sea of fog that is the music industry - creating a new level of fresh excitement for listeners everywhere.
That brings us to our next topic! We present to you our Ones To Watch for 2024 - personally picked by our writers.
Blondshell
Sabrina Teitelbaum, aka Blondshell had a big year in 2023. She released her debut album, played The Tonight Show Starring Jimmy Fallon, and played several festivals.
Teitelbaum isn’t completely new to the industry, however. From 2017-2020, she had a career under the moniker BAUM, but stepped back from that after deciding she no longer felt connected to the music.
She debuted Blondshell in 2022 with the single Olympus, which was met with critical acclaim across the board. “I wanna save myself, you’re part of my addiction/I just keep you in the kitchen while I burn” she sings, somewhat cynically. It’s an incredibly impressive track to debut with.
I believe the most impressive track on the record, though, is Salad. To my ear, it’s a song about someone that she cares about being physically hurt by a man. It begins with chugging guitars and a xylophone can be heard throughout. “I would take a gun out/Put some poison in his salad” she spits in the first verse. The chorus is where the song really reaches its peak. “It doesn’t happen to women I know/I put it in a box in a TV show/It doesn’t happen to women I know/God, tell me why did he hurt my girl?” Teitelbaum belts.
It's an album that kicks you in the stomach as you listen to it, but also that pats you reassuringly on the head. A perfect example of indie-rock at its finest. Former president of the United States, Barack Obama also thought so, adding the track Joiner to his favourite music of 2023 list.
Back in October, Teitelbaum released a deluxe version of her album, with five extra tracks, two of them never heard before; Street Rat and It Wasn’t Love, plus the single Cartoon Earthquake. Speaking on It Wasn’t Love, Teitelbaum said: “There are so many times that I thought I was in love, but I was actually just feeling longing, desperation or confusion about my self-worth. I think that was the case with a lot of the relationships I wrote about on my album. I talked about love and romance as a way of talking about my fundamental conflicts within myself. This song is my way of saying that my perspective has changed on those past relationships.”
The track is quite different to the others on the album. It starts off with an organ that resembles a church organ. “She’s haunting me/But it wasn’t love” she opens the song. Although slow and melancholic, It Wasn’t Love is not exactly a sad song. More cathartic and insightful.
In 2023, Blondshell played shows across the US and did some shows in London. This year, she’s set to tour Australia, New Zealand, and Japan, and several festivals in America and Europe, so it’s sure to be another big year for her. Long may her reign continue.
Words - Lucy Skeet
Mary in the Junkyard
For fans of: Porridge Radio, Drugstore Romeos, Dry Cleaning
Regulars at London’s Brixton Windmill might already be familiar with alternative rock trio mary in the junkyard, but if you’re not already acquainted consider this your formal introduction.
The band have quickly made a name for themselves as the latest must-see act with their moniker popping up on tour posters across the country. Harnessing the power of live music, the trio built such a solid following that they sold out their debut headline show, before ever releasing a recorded song. The single release show for their brilliant debut single ‘Tuesday’ was held at their home away from home, the Windmill Brixton. Those lucky enough to squeeze into the gritty South London venue that night were treated to a wonderfully weird set complete with howls, haunting viola and inky guitar riffs.
Composed of guitarist and vocalist Clari Freeman-Taylor, bassist and viola player Saya Barbaglia and drummer David Addison, the band describe themselves as an “angry weepy chaos rok trio”. Their sound is intriguing, ever-shifting and just oozing with confidence. Their catalogue of songs are expertly woven; seamless swoops of sound that bounce from each band member in satisfying synergy. One moment Freeman-Taylor’s vocals are softly ethereal and the next, the band are slamming their way through a resounding chorus.
mary in the junkyard’s cohesion is just as evident in their recorded sound as it is on stage. Debut single ‘Tuesday’ shimmers with promise as the band manage to contain their beguiling energy into their recorded sound. The song opens with a genteel and beguiling rolling riff before suddenly twisting into a darker sound. Drums, bass and guitar come together without ever overpowering one another. With the rest of their setlist awaiting recorded releases, we can’t wait to see which gem they package up next.
It's not just musical talent that the band possesses, they also are a dab hand at other artistic ventures such as painting or film. For ‘Tuesday’, not only was the album artwork produced by Freeman-Taylor, but she also directed the fittingly bizarre music video.
‘Tuesday’ explores feeling lost in the busyness of a large city, swept along by the current and craving something more real. In true Lynchian style, the video features a Yeti following the trio across South London. Filmed on grainy footage, the film perfectly matches the pacing of the track. Moving from long pans across Elephant and Castle to choppy scenes of London’s busyness as the song rises and falls.
To get the full effect of mary in the junkyard’s talent, you’ve got to see their live performances. Youtube is full of shaky recorded footage from their gigs, which adds to the charm, or they’ve done a magic live set with So Young Magazine. Better yet, get yourself down to one of their shows. The band have announced their headline show at London’s Corsica Studios on March 27th and we’re sure we’ll see them taking up more support slots over the year too. We’ll see you in the crowd.
Words - Ella McLaren
Nell Mescal
FFO: Nieve Ella, Dolores Forever, Tommy Lefroy
Hailing from the small town of Maynooth in Kildare, Nell Mescal has certainly come far during her short time in the limelight. While the rising starlet has a musical background predating to writing songs in her early teens, her debut came during the pandemic. A pivotal time for many, Mescal took it as an opportunity to focus on developing her sound, with her debut single ‘Graduating’ arriving in July of 2022. Poetic yet brutally honest, it was quickly met with glowing appraise and signalled the start of a whirlwind journey for the young artist. Navigating the complexities of life and love, each release from the 20-year-old provides a window into her life. With reflective - and often gut-wrenching - lyricism placed against uptempo melodies, there’s an enthralling juxtaposition that runs throughout her work. Much like her indie counterparts Tommy Lefroy and Dolores Forever, Mescal doesn’t hide behind vibrant beats and pounding basslines as she navigates poignant topics like heartbreak, but rather embraces the vulnerability and finds empowerment within her delicately crafted sonics. It’s this candid exploration of coming-of-age that has secured her as a noteworthy upcoming name.
In the last year alone, the Irish songwriter has released a steady stream of singles. Voicing the emotional conflict of leaving your hometown, ‘Homesick’ kicked off the year in January, while March release ‘In My Head’ offered a moment of heartfelt reflection, before breakup anthem ‘Punchline’ came in July. The tracks arrived all while Mescal was completing an Irish tour and a jam-packed festival season, which saw her light up the stages of BST Hyde Park, Barn On The Farm, Electric Picnic and more. It was during this time that she managed to secure herself an impressive repertoire, playing alongside music heavyweights including HAIM, Florence & The Machine, and Dermot Kennedy.
Mescal continued to make her mark following the summer shows. Her fourth and final single of the year ‘Teeth’ was unveiled in September, once again bubbling up excitement for what’s yet to come from the rising star. A fierce, yet equally endearing, bite-back at a former lover, it showcased the indie pop sensibilities that have already gained her critical acclaim from the likes of NME, Rolling Stone, DIY, and The Line Of Best Fit.
2023 wasn’t all smooth sailing though, with Mescal having to postpone her October UK tour due to health reasons. Despite hitting some bumps in the road, her determination remained untouched, and fans rallied behind the pop sensation. News of tour dates being moved to February was announced shortly after, followed by completing her final Irish shows in December.
Between an upcoming tour and new music already in the works, 2024 is gearing up to be Nell Mescal’s biggest year yet – and by the looks of it, she’ll be blessing our ears for many more to come.
Words - Emily Savage
Sody
FFO: Gracie Abrams, Holly Humberstone, Cian Ducrot
Newly independent and revelling in her creative freedom, Sody has secured herself a worthy spot as one to watch. The rising star has undergone major changes since her 2016 debut under Sony Music, including a much-anticipated return to the spotlight. Now equipped with the freedom to release music on her own terms, Sody cements herself as a bright new hope for today’s pop scene.
Since releasing her initial single ‘Sorry’ almost eight years ago, the London-based artist has been unafraid to experiment with her genre-blending sound. But if there’s one thing that Sody excels in, it’s making the most gut-wrenching and thought-provoking ballads that put words to feelings we often find difficult to describe. With this signature approach never failing to capture the hearts of a growing global audience, her 18-month hiatus was certainly felt.
But as the saying goes: good things come to those who wait. And 2023 saw Sody make a dazzling comeback. Lead single and EP title track ‘Star Potential’ was unveiled in April, followed by the introspective ‘Frozen Lake’, and purely cathartic ‘Trust’. With a lyrical eye for life’s small but significant moments, Sody has established herself as a profound upcoming voice. From navigating the pressures faced by young artists to being let down by those closest to you, her articulate songwriting continues to provide a refreshing take on the complexities of life and love.
Ahead of the EP’s arrival, Sody debuted featured tracks during her breathtaking set at Gloucestershire’s Barn On The Farm Festival, where the singer/songwriter has become a staple over recent years. The full body of work was shared on August 4th (a fitting release date for her fourth EP) and accompanied by an intimate London launch show. Alongside captivating small crowds in her hometown, the last year has equally proven that Sody is more than capable of entertaining audiences on a much larger scale. Having joined Dodie on her European tour in May and opened up for Cian Ducrot across the UK in November, her mesmerising stage presence has already gained widespread recognition.
As 2023 neared its end, and most of the music world was winding down, Sody had one final offering to end it on a high. ‘Missing Me’ sees ethereal vocals float above an undercurrent of lilting guitars and rhythmic drums. In keeping with her now-signature sound, it recalls the softly voiced sonics of Gracie Abrams and Holly Humberstone in navigating feelings of loss and betrayal. Propelled forward by the unforgiving honesty that has become an endearing characteristic of the multi-hyphenate’s storytelling, it cements her music trajectory for the coming year.
Finding catharsis within creativity, Sody has solidified herself as a star-in-the-making – and one that we should all be watching.
Words - Emily Savage
Frankie Beetlestone
FFO: Corella, The Snuts, Vistas
After bursting onto the indie scene nearly three years ago, Frankie Beetlestone has proven himself as an artist to keep an eye on. With influences stretching from Carole King to Frank Ocean, the Sheffield-born star’s music is an idiosyncratic melting pot in every sense of the term. Already leading the way for a new wave of indie artists through his eclectic blends, his rise to stardom is only set to continue.
2023 was a huge year for Beetlestone, kicking off with sharing his anthemic track ‘Cannonball’ in February, before joining Tom Grennan on his UK tour in March. A voice for today’s generation, the 22-year-old’s critiques of the banality of everyday life holds a universal resonance that rings as true in an arena of 20,000 people as it does in a tightly packed room of under a hundred. It’s this relatability, combined with his infectious soundscapes, that has already amassed a cult following. His growing audience has further extended to noteworthy media support, with the likes of Dork and Clash, as well as BBC Radio, offering glowing appraise.
Beetlestone’s sophomore EP ‘Caravan’ arrived in May, alongside an accompanying headline show in his hometown. The 6-track record was penned while living in a caravan on his nan’s driveway (hence the title) and featured recent tunes including ‘Slowly Break My Heart’ and new single ‘Get Paid’, alongside older fan favourites like ‘Popstar’. From questioning the expectations set out by a capitalist society to lingering on feelings of heartbreak, the dynamic project champions Beetlestone’s stream-of-consciousness approach to songwriting. Experimental, rebellious, and bursting with personality, it’s a defiant statement of intent from the rising star.
Opting for an approach that places stark lyricism against bubbly sonics, there’s an engrossing duality about the multi-creative’s sound. A keen producer, he manages to wrap up the grappling realities of British youth culture into irresistible indie-pop packages. Rich in funky guitar riffs, punching drumbeats, and plucky basslines, it’s this handling of serious topics in a not-so-serious manner that has become a classic feature of Beetlestone’s work. With the past summer being spent lighting up the stages of Reading and Leeds, The Great Escape, Y Not and more, the 23-year-old’s unique formula of pop hits has proven itself to be a method for success that translates just as well live.
Having already checked off major milestones in the last year, there’s no doubt that there will be more to come as 2024 progresses. A refreshing voice with a vibrant artistic vision, Frankie Beetlestone is one of the most exciting newcomers. With a sound reminiscent of The Snuts and Vistas, it looks like it won’t be long before he’s sitting alongside these fellow indie stars.
Words - Emily Savage
Nieve Ella
After a stunning breakout year in 2023, Nieve Ella is set to be one to watch in the next twelve months. The Shropshire star has really made a name for herself with some gripping music that captured the attention of thousands as she toured Europe with Inhaler.
If you’re familiar with artists such as Phoebe Bridgers, Beabadoobee or even Inhaler, then you’re probably already aware of the enormous talent that Nieve Ella possesses. If you’re yet to try out her music, you’d thank yourself to get involved now.
She burst onto the scene with the incredible track ‘Girlfriend’, a poignant track that truly showcases her natural ability to put together songs full of sincere lyricism and catchy, clever guitar riffs. The track paved the way for the artist to release a collection of other brilliant tracks, culminating in her releasing two undeniably incredible EP’s in 2023. ‘Young & Naive’ and ‘Lifetime of Wanting’ were evidence of just what the excellent musician and her band are all about.
Last year saw Nieve gain a vast number of followers through her live performances, particularly when she performed to large crowds as she supported the hugely successful Inhaler all over Europe. Despite missing this tour, I was lucky enough to catch her set at Reading Festival. After hearing great things about her live shows, I was excited. Any prior expectations were smashed out of the park. Nieve Ella and her band took the Reading stage by storm. They played as a tight unit, with each member combining for a huge, full sounding show. As the lead vocalist, Nieve Ella was excellent. Her voice is unmissable, and as striking- if not more so- than on the recorded versions of her own songs.
After this enormously successful touring period that saw music fans really take a shine to Nieve, she revealed that, in 2024, she would be embarking on a run of headline dates across Europe. Regardless of how well her music and live performances were received, it is still remarkable how quickly the majority of this tour sold out.
With a tour that sees the artist take on England, Scotland, Germany, The Netherlands, and France, Nieve Ella is set for another huge year. As of the time of writing, there are only tickets available for the Parisian date. It’s mind-blowing to see, since she is a young artist in her twenties, but it’s totally deserved. Nieve Ella deserves this appreciation, since she has put out some of the very best music in recent years.
If someone were to be completely unaware of the work of Nieve Ella, I would recommend listening to: ‘His Sofa’, ‘Girlfriend’ and ‘Lifetime of Wanting’. The latter of those is a musical masterpiece that takes listeners on a real journey.
2024 seems set to be as big a year as 20223 was for Nieve Ella. Fans will look forward to her live dates in February and April. I, along with many others, will keep a keen eye on the activities of the rising star as she goes from strength to strength.
Words - Matthew Caslin
STRABE
For fans of: Telenova, Romy, Remi Wolf
STRABE first caught our attention with their effervescent viral hit ‘Best Worst Year’. Since then the duo, made up of Edinburgh born Angelica and Dubliner Emmett, have gone from strength to strength releasing a steady stream of glittering alt pop.
Music has always been a great unifier, and wonderfully so in STRABE’s case. The pair met in the smoking area of Cork Jazz Festival, initially bonding over their similar music tastes. The duo soon realised that together they had the makings of a band between themselves.
Their debut EP, JUVENOIA, brought us the first full bodied taste of STRABE’s shimmering pop goodness. Standout hits ‘Breathe Me In’ – which features a wicked harmonica solo, and viral hits ‘Life on Pause’ and ‘Best Worst Year’ saw the band start to rightfully gain attention for their infectiously bright melodies.
Part of STRABE’s magnetic allure onstage is the evident bonds between the musicians. Not only between Angelica and Emmet themselves but also with their contemporaries. At their How Our Love Grows album launch show at London’s Lower Third, they were joined by collaborators Lewis and Euan McLaughlin for sweetly sugared song ‘Together, Wherever’. The pride they have in one another, and the songs they’ve made together, is just downright lovely.
Emmet’s electronic beats don’t lose any of their energetic ebullience in the live environment, if anything it's heightened by Angelica’s dulcet tones and swaying dance moves. The duo propelled through a set of wholehearted joy under the rainbow lights. Throughout, Angelica and Emmet looked to be having the time of their lives. As the set closed with crowd favourite ‘Best Worst Year’, Angelica joined in with the bouncing, chanting audience while Emmet and the Mclaughlin brother’s danced around onstage with their instruments.
On How Our Love Grows, the band delve further into the personal: from grappling with sexuality and gender in queer bop ‘When You Move’ to the loss of a father in the beautifully tender ‘King of the Sea. A smattering of influences can be heard throughout the album, from The xx or Romy to disco. However, How Our Love Grows is far from just being a collection of songs: STRABE holds onto a central sonic identity with Emmet’s genre fluid production being consistently held together by the honeyed quality of Angelica’s voice.
STRABE’s inclusion of more intriguing and traditional sounds such as spoken-word excerpts or the fiddle mark them as standout talents in the alt-pop space. In particular ‘Magnolia’ from How Our Love Grows glistens, with its moody poetic verse and gorgeous lilting fiddle – played by fellow Scot and STRABE collaborator Euan McLaughlin. A magical song on the record, which becomes entirely mesmerising when performed live.
STRABE intensifies all of the wonder and magic of How Our Love Grows in the stunningly powerful closer ‘King of The Sea’. An ode to Angelica’s father, who passed away, ‘King of The Sea’ tenderly touches the more painful side to love. Speaking on the track Angelica aptly summarises: “in losing someone, your love for them only continues to grow.”
Steadily the song fills with texture, from layers of angelic harmonies to genteel piano and strums of guitar. At its climax the song swells to ambient electronic epic that douses the listener in a sense of catharsis. On How Our Love Grows STRABE have pushed themselves to new heights, creating truly a cinematic tracklist.
With such a solid 2023 behind them, it's anyone’s guess what the duo will do next. But, you can count on it being stellar.
Words - Ella McLaren
Kngfishr
It’s been a hell of a few years for Kingfishr. When the trio of Edmond Keogh, Eoghan McGrath & Eoin Fitzgibbon decided to form a band, having met while studying Engineering at university, they can’t have imagined everything that would happen. How could they?
Yet, in the year and a half since their first single released, their list of accolades is ridiculous. They’ve performed with the likes of George Ezra, Dermot Kennedy and Bruce Springsteen; they’ve sold out their debut international show at London’s Camden Assembly in minutes, not to mention their full Irish headline tour; they’ve sold out two nights at the prestigious 3Olympia Theatre in Dublin, as well as February headline shows in both London’s Lafayette and Manchester’s Deaf Institute, with the other dates looking to follow suit; they’ve even got a mammoth hometown show on the books for next year supporting Snow Patrol at the 25,600 capacity Thomond Park in Limerick. It’s not a question of if they’ll be the next big thing, just merely one of when.
But what are they like, I hear you ask? Well — imagine if the afore-mentioned Dermot Kennedy and the early days of Mumford and Sons had a musical love child that came out already clutching a banjo, with maybe a bit of the stripped back side of Irish contemporaries The Coronas thrown in for good measure. As descriptions go, that’s as good a one as any to either sell you on them or put you off — but Kingfishr are very much their own band.
There are currently eight singles out, plus a healthy smattering of alternate and acoustic versions, and each of them is beautiful. It’s not just the sound, although Keogh’s phenomenally powerful vocals and the fantastic, captivating, and soulful melodies and harmonies created by McGrath and Fitzgibbon are a huge part of it. It’s not the intimacy, though the songs feel as if they’d be as at home around a campfire or just in a pub in the band’s hometown of Limerick as they would at a sold-out arena. It’s not even the lyricism, which manages to retain that heady, impossible blend of humility and self-assurance that lets a band conquer monumental themes — greed, conflict, the brevity of life — at the same time as discussing young love and the insanity of dropping out of university in pursuit of a pipe dream. It’s that, to a one, the songs make you feel something. Some are rousing and anthemic — particularly fan-favourite ‘Eyes Don’t Lie’ or the more recently released ‘Vancouver’, which even sparked a short Canadian tour for the trio in December — while others are more on the heartbreaking and emotional side, such as phone-torch-swaying acoustic number ‘Shot In The Dark’; but, without fail, they all have that intangible power to whisk you away.
And, from a more personal standpoint, I can’t recommend them enough. I went to 125 gigs last year, and Kingfishr’s Camden gig was a standout. No question. Either get your tickets or get looking on Twickets, because these aren’t one to miss.
Words - James O’Sullivan
Mouth Cutlure
Think back to the early 2010s. You Me At Six had just released their third album, ‘Sinners Never Sleep’; Bring Me The Horizon were gearing up for their seminal album, ‘Sempiternal’; new kids on the block Mallory Knox — who, on an unrelated note, are making their long-awaited comeback this year — had just released their first singles. How good those days were, when the ‘phase’ was more of a Phase.
Mouth Culture, from Leicester, have less been making waves on the live rock and metal scene, and more acting like a big ol’ whirlpool, sucking everything in to revolve around them, and currently they’re being a pretty damn good successor to the alt-rock, post-hardcore British legacy. Having supported the likes of Teenage Wrist, Acres, and the mighty While She Sleeps last year, and with a recently announced, 13-date headline tour planned for March, along with a support slot with returning emo heroes The Blackout, 2024 is looking bright for the trio.
And with good reason, too. Sure, the songs are great — alt-rock, pop-punk and a smattering of screams all abound over their back catalogue, particularly new EP ‘Mishaps Of My Mid Twenties’, that intoxicating mixture of addictive, anthemic and angst-ridden. But more than that, it’s just how much fun they seem to have together. Friends and housemates since the band’s conception, you can feel both the camaraderie and even the slight competitiveness that comes from that closeness, the three pushing themselves further and further. They’ve also established a steadily growing fan base live; they might have been around for a little while, but the determined string of support slots in 2023 let the trio truly cut their teeth and polish their performance, vocalist Jack Voss in particular a fountain of vitriol and vitality, Josh Franceschi and Oli Sykes amalgamated into one.
The three act as parts of a riotous whole, and part of the charm is just how much visible fun there is. Whether it’s a just a few or if it’s a few thousand, they give it their all, a smirk on their faces. And, whether it’s drawing the crowd to an in-joke or riling them up in frustration, the smirk only gets bigger.
In a world of crowds holding phones aloft, living vicariously through their screens, a good bit of genuine emotion, even if it just ends up an indignant need to move, is always a good. If 2024 carries on as 2023 ended, Mouth Cultureare bound to explode.
Words - James O’Sullivan
Dumb Buoys Fishing Club
"What began as a creative experiment, as more and more songs were written it became clear that a distinct, twisted world was being formed. A world that reflects the trials and tribulations of two fishermen with mysterious pasts and uncertain futures."
An amalgamation of Beastie Boys and Gorillaz lost at sea, comes a duo with unforgiving energy very much establishing their own lane. What turned out as a ample side project of a couple songs has blossomed into something far greater than that. Now, a few months after their initial single together as a duo - after resting from their own solo projects - comes a debut album in its entirety.
We only share the most off-the-wall ambitions here at When The Horn Blows. You needn't look any further than Dumb Buoys Fishing Club. The whizzing brain-child of London-based artists DanDlion & Havelock comes a new venture of brazen bangers, stylised in a new project package of an esteemed exterior. The energy between the pair is incomparable. The first sound we ever got was Formula, an electric amalgamation of wailing sirens, woozy Gorillaz-bass lines and lyrical ingenuity that's not too far from the shore of grime. The London pair are joined by both Merlyn Wood and joe unknown in the booth - two uncut gems in their own right in the world of alternative punk and experimental hip-hop.
The aim of the game was momentum with this one and so we were met with another funky-bop in Skeleton Town, a swanky instrumental awash with bold lyrics met with explosive delivery, "Hasn’t anybody ever told you / You’re a bloke who’s ... Soft in the middle like tofu / And imma play you like a game of sudoku / 24 karats on my chain and my gold tooth / See me with a pretty la bonita / On the seaside." The song also has the subtle presence of fellow-Londoner Qhairo who offers his sultry tones in the fourth verse.
We have another to dive into, too. Most recently, the efforts of Fortune Teller was released. A delectably catchy blitz that can have easily fallen off the boat to Cracker Island or even off the sultry B-sides of electronic overflow of Death Grips' Bottomless Pit. Whimsical lyrics marks a pretty near perfect trio of singles, as they display their salt-water sounds of mischief and angst to the world of alternative hip-hop/pop. It's almost as if Leicester-based boys Easy Life took a dark turn in their otherwise all-smiles catalogue. Instead of summery beaches of palm trees and milkshakes, we get the dark and stormy of incessant seas.
The first sounds we hear that's not four of the pre-singles released is Chandelier in the Sky; an equally enigmatic song with ma-hoosive production value, a buttermilk R&B chorus from guest Bryce Vine and a cruisin' bass line. The array of sounds on display are pragmatic; constantly deep-diving into new tastes; new cravings.
DanDlion and Havelock's DBFC have already had some serious backing from the likes of NME, earmarking them as 'certified new bangers' and even Spotify pinning them as poster boys to the alternative future playlist. They are fast on their way becoming "the future of the genre."
Enter the trials and tribulations of two fisherman with "mysterious paths and uncertain futures" - this is a debut riding high on the waves of experimental alt-pop beats, driving lyrics and sultry soundboard mixes. And it's yours.
Words - Alex Curle
