EXISTENTIAL MAGAZINE

At 81, Gloria Gaynor doesn’t walk onto a stage—she arrives. And Tuesday night at the Sal de Música Festival, she didn’t just open the show… she opened the heavens.

From the first note, it was clear: this wasn’t some nostalgia cruise. It was a full-blown disco resurrection. Sequins. Sweat. Soul. Survival. Gaynor lit up the Spanish coast like a mirrorball gone supernova, turning a sun-soaked seaside crowd into a swirling mass of joy, tears, and rhythm.

Backed by a razor-tight band, Gaynor ripped through a set that celebrated 50 years of Never Can Say Goodbye with the vocal power of someone half her age and the gravitas of someone who’s earned every ovation. There were no gimmicks, just hits: “I Am What I Am,” “Never Can Say Goodbye,” a Donna Summer medley that raised pulses—and of course, that song.

“I Will Survive” wasn’t a throwback. It was a sermon. A roar. A shared scream into the August night. The crowd didn’t just sing along—they ascended.

Seattle-born and Nashville-based artist Chloey Indica has found herself on an upwards trajectory since her 2022 musical debut. While it’s taken her some time to figure out her sound and be authentically herself over the years, her newest works show her at her most vulnerable and yet confident, connecting with audiences across the globe. As she only soars higher and higher, Chloey’s newest single ‘Lonely In A Crowded Room’ is set to perhaps be her most revealing so far.

From pressing play, ‘Lonely In A Crowded Room’ is slowed and closed-in, a soft sound that feels near and dear. With a gentle opening riff leading into slow thudding drums, loose guitar and backing vocal echoes, everything is kept intimate and emotive, encouraging you to listen and feel deeply without a facade or a front to hide behind. Chloey’s vocals are a haunting combination, daintily climbing through gentle highs and eased mid-tones that make it feel almost conversational, a diary-entry or personal confession shared as though you were her closest friend: ‘we used to laugh but it’s been a while since things changed, maybe it’s not you, it’s me.’

The chorus is instrumentally full yet still toned down, forceful but slowed and emotive. With heavy-hitting drum beats, blaring guitar and layers of leading vocals that stretch to be heard, ‘Lonely In A Crowded Room’ delivers quite the experience you just can’t get enough of. It’s catchy but timid, deeply personal while easy to dance to, slow but infectious to chant-along to every word, with Chloey absolutely nailing the in-between of unforgettable pop and poetic songwriting that resonates. Those lingering lines make it hard to tear yourself away, caught up on the admissions like: ‘they look so happy, and I guess that I am too, so why am I lonely in this crowded room?’ Continuing ‘conversations just for the sake of it, my favourite song is playing loud but I’m not listening’, she seems different from the rest, not enjoying the things that are intended to bring joy. Instead, the crowd just reminds her that she feels ever-so alone and unseen, still searching for those that really understand her.

Keep listening to ‘Lonely In A Crowded Room’ for yourself here, it’s hard not to connect if you’ve ever felt left out or isolated in this world.

Written by: Tatiana Whybrow

Photo Credits: Unknown

15-year-old singer-songwriter Ava Valianti has proven time and time again that her musical skills are far beyond those of her age, carefully crafting soundscapes that feel refined and staple of her sound. With lyricism near and dear to her heart, she even manages to connect with those of all ages, exploring topics that anyone could find themselves experiencing.

Her newest single ‘Buttercups’ is no exception to that, delicately journeying through the experience of love, loss, and searching for purpose. Centred around memories that are hard to let go of, from scents like cinnamon to their everyday routines, Ava makes you feel a part of this world and these snippets by painting such a vivid picture. It’s almost as though they begin to ache like something you’ve lived through too, catching in your throat as she sings: ‘I think that I just need to take it breath by breath, and hope you don’t forget it.’ The opening verse is just as soft to match the careful admissions, with just gentle acoustic guitar strums and Ava’s dainty vocal performance. Through light hums, fragile lines and the sound of her breath between lines, you can’t get more intimate than this, a performance that feels taken straight from a personal performance at home.

As the chorus gently rises with beautiful piano keys, haunting backing harmonies, guitar strums and the painful yet romantic hook ‘aren’t you my buttercup, my buttercup baby’, this track truly gets right under your skin. This devastating line sees Ava clinging to the innocence of what was once certain, even as trust unravels, a reminder that sometimes those positive memories aren’t worth sticking around for. Thankfully, the track switches up from here onwards, bursting into a surprisingly energetic shift. Through a beaming guitar riff, thumping drums, radiant backing sounds and a confident leading vocal performance that sings ‘buttercup baby, haven’t seen you lately, don’t know what I should do.’ Ava’s still caught up and lingering, but she seems to realise it’s time to let go, focusing on just the good that they once shared: ‘you messed me up, I don’t trust trusting, all that’s left is love.’

Keep listening to ‘Buttercups’ for yourself here, Ava Valianti is truly an artist with skills far beyond her years, and we’d be surprised if she doesn’t have a promising future to come.

Written by: Tatiana Whybrow

Photo Credits: Unknown

There’s something beautifully reckless about watching a band like Europe tear through a bullring on a sweltering Spanish night. On July 10th, Murcia’s Plaza de Toros wasn’t hosting a nostalgia trip—it was hosting a rock and roll siege, and Joey Tempest was leading the charge like a man possessed.

Tempest worked the crowd like a preacher at a tent revival, spinning his mic stand, strutting across the stage, and howling like it was 1986 all over again. But this wasn’t just vintage posturing—the band was tight, loud, and gloriously unapologetic. John Norum’s guitar solos were pure jet fuel, cutting through the humid night air with the kind of tone that makes you remember why arena rock was born in the first place.

They piled on the hits—Rock the Night, Superstitious, Cherokee—each one greeted like an old friend by a sunburned, beer-soaked crowd that was more than ready to scream every chorus back. When the synths of The Final Countdown finally came in, the place went feral. People climbed shoulders, drinks flew, and Murcia briefly felt like ground zero for the world’s loudest karaoke session.

Sure, there’s a layer of nostalgia baked into Europe’s sound, but here’s the thing—they don’t play it like a heritage act cashing in. They play it like their lives still depend on it. And for 90 sweaty, euphoric minutes, so did ours.

With inspirations spanning from early Avril Lavigne, Pale Waves, Taylor Swift and Gracie Abrams, the upcomer ettie has found her own sound is just as emotionally infused but constantly spanning between genres. Between bouts of anger, sadness and heartbreak, her works always feel close to the heart but bundled in turbulent sound.

From pressing play, you can tell that ettie’s newest single ‘You’ll Never See Me Cry’ is something a bit different for her, stripped-back and warmer than her usual angstier pop-punk leaning releases. Instead, this feels emotional and personal, a look into her Gemini nature of being stubborn. Through slow tumbling drums and gentle acoustic guitar strums, the soundscape is relaxed and a little pop-rock leaning, creating a delicate space for her vocals and lyricism to take the lead. Spilling out with admissions of a lover leaving her behind, ettie sings ‘all the warning signs you can’t see from cloud nine, I fall to the ground ‘cause my angel was blind’, struggling to let go of something that has already gone. Her vocals carry her staple intensity and spoken-sung nature but in a different light, this time more haunting and aching than ever before.

As ettie’s vocals continually rise, we finally see one hell of a climax in the chorus. Backed up by heavenly layers of backing vocals that feel almost choir-like, the sound becomes loud and bold but still wholly atmospheric and intimate. Mixed with steady drum clashes, rich piano keys and loose guitar strums, the soundscape has never felt more refreshing for a punk-leaning artist like ettie to deviate into. While the vocals and storytelling are still true of her pop-punk roots, ‘You’ll Never See Me Cry’ dares to fall into a genre of its own, sending goosebumps down your arms as this incredible artist gives it her all like she’s on the stage of an arena.

Keep listening to ‘You’ll Never See Me Cry’ for yourself here, you won’t regret giving a chance to ettie.

Written by: Tatiana Whybrow

Photo Credits: Unknown

Stephen Thomas is quite the musical enigma, dancing between genres and crafting patchworks of hip-hop amidst alternative references that always leave his music feeling refreshing and unlike anything else. He’s unafraid to be versatile, in fact it’s everything he stands for, making a career that’s defined by exploration and evolution.

His newest single ‘Breaking Hearts’ once dares to be more than just one sound, embodying pop-punk rebellion with a distinctly hip-hop soul. The track is also rougher around the edges than anything he’s shared before, letting listeners into a raw experience you just can’t tear yourself away from. Right from pressing play, it’s immediately thrust in your face with volume and angst, hitting you with smashing drums and blaring guitars that progressively build into an opening chorus moment. Knowing how to grip listeners off the bat, Stephen hurtles shredding guitar strums and thunderous drum beats into your eardrums with his catchiest hooks: ‘all I wanna do is live my life with no regrets and never have to choose how I want to move.’ Continuing his emotive message, listeners will also feel connected to every single word. From the chorus’s admission ‘it breaks my heart but I’ve gotta get away from you’, we feel the aching of the loss and yet the track’s spirit keeps things tumbling along, a reminder that you’ll come out better on the other side.

It simmers a little into the opening verse, maintaining a speeding pacing with quick stripped-down rapid drum beats, steady guitar strums and Stephen’s vocal performance that takes the lead, dancing between rasped lines and cleaner ones for a performance you can’t get out of your mind. The mix of infectiousness with raw emotion seeping through is impossible not to love, pushing a motivational message of reclamation after a broken heart, capturing the freedom and empowerment that comes from walking away from toxicity. This isn’t the only verse that ‘Breaking Hearts’ has up its sleeve either, bursting into a hip-hop moment with rapped vocals and electronic scattered beats, keeping you constantly on your toes.

Keep listening to ‘Breaking Hearts’ for yourself here if you’re after a track that stands out, dancing between genres in a way you’ve never heard before.

Written by: Tatiana Whybrow

Photo Credits: Unknown

DAMNAGE’s self-titled debut is a fiery, genre-warping blitz that grips your ears and doesn't let go. From the opening blast of ‘Wasteland’, the band sets an explosive tone, where punk fury collides with melodic grit in a head-on crash. What makes this trio immediately compelling is their ability to channel chaos with purpose; it’s not just noise for noise’s sake, it’s a cathartic exorcism of modern-day madness.

Across 10 tracks, the band delivers a visceral mix of rage, reflection, and raw power. ‘Time to Kill’ pounds with anxious urgency, echoing the emotional paralysis of the COVID era, while ‘Cheaptalk’ and ‘Love and Money’ seethe with biting social commentary. The band’s chemistry is undeniable, built on years of shared stages and brotherhood; their tightness and conviction shine through every distorted riff and punchy rhythm. DAMNAGE never feels manufactured. This is the sound of friends with nothing left to lose, going all in.

The standout, ‘Never See It’, brings a haunting vulnerability to close the record, a ghostly counterbalance to the album’s heavier moments. It's a rare track that doesn’t dilute the energy but rather deepens the emotional resonance, showing the trio’s range beyond brute force. Similarly, ‘Million Ways’ and ‘Semisocial’ show DAMNAGE’s knack for writing songs that feel personal, yet speak to a broader cultural fatigue, a shared ache in the age of overstimulation.

For fans of Turnstile and IDLES, this is familiar ground, but DAMNAGE isn’t copying; they’re carving. In the end, DAMNAGE doesn’t feel like a debut; it feels like a declaration. Stewart, Drummond, and Peterson have poured every bit of their history, grit, and heart into these songs. It’s an album made for the outsiders and the burned-out, for anyone yelling into the noise hoping to hear something human come back. DAMNAGE isn’t just turning up the volume, they’re making damn sure you feel it.

Keep blasting DAMNAGE for yourself, this debut’s a gut-punch in the best way, and the trio’s already sounding like a must-add for your heavy rotation this year.

With the month coming to a close, we’re sharing just a handful of our favourite new releases we’ve discovered this June! Sit back, put on our New Music Friday playlist and spend a few minutes enjoying fresh new tunes hand-picked by us.

Leo Walrus - Old Words, New Mess

Set to support Ratboy and The Boo Radleys this summer, the upcomer Leo Walrus has slowly but surely been finding his own place to slot in on the music scene. Since 2022, Leo’s weaved between sounds finding his little niche, and his most refined single yet ‘Old Words, New Mess’ shows off just how spectacular this talent’s sophomore album is set to be. Opened by warm piano notes, loose guitar strums and dainty vocals, everything about it feels achingly personal, sung right in front of your eyes like a campfire serenade. It picks up a little with soft thudding drums, electric guitar strums and quirky instrumental reaches, climbing into a hauntingly atmospheric journey that transcends being just a song, defining itself as more of an experience to take. With piano riffs and trailing instruments that dare to branch outside of their norm, ‘Old Words, New Mess’ feels living and breathing as it pulls you in to its devastatingly real sonic journey, born out of drowsy musings on public transport: ‘I hear announcements, as I start to rise.’ With Leo setting the scene of this mundane experience on the train before leading into the courage it takes to start again, it’s impossible not to place yourself in his shoes, connoting this everyday act to our own routines and thus feeling his words that bit more personally as he beams: ‘make a new man, start again.’ As a mix of hopeful reflection and yearning, ‘Old Words, New Mess’ is the perfect tune to add to your introspective playlists for when you just want to ponder that little bit deeper.

Up From Here - Under Your Spell

The pop-punk trio Up From Here are eager to break into the music scene with a sound that’s instantly familiar but defiantly their own. Through brilliantly catchy riffs, old-school flair and modern presence, they’ve nailed everything they’re doing - and their newest single ‘Under Your Spell’ certainly only proves that. Opened with a stripped-back soundscape that slowly builds into the action, the group know how to build momentum and grip new listeners instantly, blaring half muted electric guitar strums and a steady rising beat your way while vocals take the lead. Everything about it is infectious, urging you to listen deeply to every single word while the sound slowly finds itself in an assured chorus that’s raw and addictively loud. Blasting with vigorous strums, thunderous drums and forceful vocals, ‘Under Your Spell’ really gets under your skin with a whirlwind of noise that the verses had cautiously built their way towards. From here onwards, things progressively keep growing, constantly teetering on the edge of an eruption that the chorus provides the climax for. The track itself feels intimate and warm, singing of a new love and first-time experience: ‘I’ve never felt the way I do, it’s all brand new.’ Despite the pop-punk grit, the message is actually totally wholesome even with some nerves, admitting ‘I can’t tell if I’m in too deep, I’m under your spell.’ As they embrace their feelings and figure it out, it’s well worth jumping along for the ride as Up From Here are a band that are sure to be going places just like their name suggests.

El Sam - Death In Disguise

Since he debuted in 2016, El Sam has found his works becoming a chapter of his life written in sound, pinning down pivotal moments and connecting with his audiences in that honesty. Through defiance and boldness, every one of his tracks stands out as something utterly refreshing, and his newest memorable piece ‘Death In Disguise’ is just another song that’s lined up to be looped in your head for weeks on end. From pressing play it’s instantly dark and alluring, a palette of dark pulsating beats and synthetic backing strobes. El Sam’s vocals take the lead atop it, a light vocal effect seeping through his words for a more electronic energy to pulse throughout, soothing and smooth while equally sultry. Blending underground club energy with cinematic production, there’s something about it that just manages to paint a picture right in front of your eyes, pushing the power of his storytelling tied into a sound that complements every line. Lyrically, El Sam explores the beauty found in destruction, the power of reinvention, the seduction of danger, and the masks we wear to survive. In some ways, it’s tempting and broody, like a bad romance that you can’t turn away from. In other ways, it’s a reminder that you can always rise from the ashes of anything, coming out a survivor with the strength to do anything. The chorus hook is a reminder of that, singing ‘dance for me in the night’ as the darkness hides everything about who we are, a moment we can simply let loose and be unapologetically ourselves. ‘Death In Disguise’ is just one of those songs you don’t realise you’ll have stuck in your head for months until it’s too late, crafting something so Lady Gaga-esque within a niche of his own that you just want so much more of.

Mary Middlefield - Summer Affair

The rising indie-rocker Mary Middlefield has quickly found herself standing out with music that dares to be a little bold, blending genres and styles for something that’s abstract in the most brilliant of ways. Recently recognised as one of Spotify’s 2025 Artists to Watch, this new name on the scene is one you’ll be hearing much more of, especially with her upcoming sophomore album. For now though, Mary’s newest effervescent single ‘Summer Affair’ is here to set the tone, channeling everything utterly euphoric about being young and experiencing fleeting love, freedom and the chaos of feeling everything at once. With gritty guitar strums meshed with a warm palette, steady drums, and haunting backing vocal layers, the opening is instantly a refreshing mix of tones. It doesn’t stop there either, quickly bounding into a verse that sees Mary spilling out her words in the most personable spoken-sung delivery, allowing listeners to feel a part of her confessions as though they were a friend listening to her pour her heart out: ‘my heart is racing, forehead sweating, from all the good things I’ve been feeling.’ As the chorus beams with guitar strums, thumping drums, bass twangs and a radiant vocal performance that dances through properly sung lines with dreamy backing harmonised layers, ‘Summer Affair’ feels just as whimsical and carefree as its message.

Caleb L'Etoile - Kerosene

Virginia-based upcomer Caleb L’Etoile just dropped his new album ‘American Death’, an exploration of folk-forward introspection and ardent rock heights. With anti-fascist themes, Caleb isn’t afraid to delve into the past and find inspiration from some of humanity’s worst deeds, while still leaving it open to be built upon by recent events as they come. The album’s finale ‘Kerosene’ is one song you definitely won’t be forgetting in the project, blending moments of poignance and intimacy with raw, in-your-face instruments. Opened by gentle guitar strums but rushed, breathy vocals, Caleb instantly gets across the urgency in the track, desperate to spew out his words as though he may be silenced at any moment. That urgency soon finds itself in the instrumental mix too, pressing along with metallic drum kicks, blaring guitar and more as it continues to fluidly build. Everything about it is constantly escalating until it finally reaches its peak with Caleb’s vocals harshly screaming ‘we didn’t have a way to lessen the spill’ mid-way through. Just as a quiet moment of piano follows, you think that may be the end of it all, but instead instruments collectively peak the microphone with a crashing wall of noise. Between thundering drums and brazen guitar you feel wholly consumed, like you’re watching an explosion from afar or witnessing a crashing plane fall from the sky. It doesn’t even stop there, completely switching up half-way to what feels like a new song entirely, beaming with just acoustic guitar and hauntingly resonant vocals. If you’re looking to find a musician unafraid to break boundaries and mesh his lyricism and instruments into one cohesive story, look no further than Caleb L’Etoile.

Give a listen to these songs and more in our New Music Friday playlist this week, or see our Roundup Recap playlist for every song previously featured in one of our monthly roundups that you might have missed!

Written by: Tatiana Whybrow

London-based singer-songwriter and rising pop sensation Casey McQuillen has made quite the name for herself since her 2019 debut, accumulating tens of thousands of followers on social media and supporting incredible acts like James Morrison, Beverley Knight and so many more. Still though, Casey remains at the top of her game after all this time, perhaps sharing her most powerful pop-rock anthem yet in new single ‘Better Than This.’

Inspired by her journey of moving to London and pursuing a music career, ‘Better Than This’ is the kind of motivational tune that anyone can find a slither of hope inside of, beaming with Casey’s own strength and accomplishments. The introduction is bold just like her message, beaming with kicking drums and blaring guitar to swiftly set the euphoric tone before the verse simmers into more intimate reflections. Through gentle acoustic guitar strums, she delicately retells her own story, her dainty words feeling fragile in the air as the nerves of where she once was almost seem to creep through: ‘gotta tell my momma, I’m getting on a plane, I promise I’ll be back here, with you one day.’ As the track progressively rises with piano keys, thudding beats and growing layers, ‘Better Than This’ slowly finds its confidence, soon admitting ‘I don’t wanna wait til I disappear, I don’t wanna wait all my years’, no longer as certain she’s going to be making that return.

The choruses burst is the most chilling moment of them all though, hitting you with large intermittent pounding drums, guitar strums and consuming vocals. The words are just as powerful, singing ‘I’m standing on the edge of a cliff… it’s gotta be better than this’ as Casey looks back on how it once felt taking that leap to follow her dreams, making hers into a reality. As the track continues to blur the lines between these moments of delicacy with those of furious energy and volume, Casey instrumentally embodies everything her message seeks to promote, urging those listening to take the path they want most even if they’re afraid along the way.

If you’re looking for an inspiring anthem filled with warmth and hope, you can listen to ‘Better Than This’ for yourself here.

Written by: Tatiana Whybrow

Photo Credits: Unknown

The Spanish-born singer-songwriter and multi-instrumentalist Luan Luan has been on the music scene since 2019, sharing a mix of genre-blending experiences that dance between pop, indie, electronic and essences of other styles too. Now though, they return with another gorgeous release titled ‘Nonsense’, ready to draw in new listeners with their most perfected sound to date.

Opened by gorgeous drawn-out electric guitar strums and floaty vocals, ‘Nonsense’ quickly looks to be refreshing and sunny, a palette filled with bright indie flecks. It doesn’t take long to pick up either, swiftly dancing into a lulled drum beat and slow electric guitar riff, as well as offering a few backing elements like a magical shimmer and rich bass twangs. Their vocals take the lead through it all, a sound that’s constantly ebbing and flowing between more intimate moments as well as picking up the pace, taking you along for an auditory journey that almost feels cinematic. Like the perfect soundtrack for an indie coming-of-age story, ‘Nonsense’ really sets the scene with visual storytelling and emotions that are hard not to connect with, painting pictures throughout every word and sonic element in play.

As the chorus playfully rises with layers of guitars, drums, bass, backing vocals, saxophone and more, you’re sure to be pulled into this mellow atmosphere for a ride that feels blissfully carefree. That sensation is set to mirror its narrative too, written during a period of change and growth that served practically as a positive anthem for Luan when they wrote it, and yet in retrospect it embodies the blindness of being in a toxic relationship. Completely unaware of the extent of the tumultuous nature of the relationship they were in, Luan manages to encapsulate how many of us often don’t see the signs until we’re in too deep, looking back and admitting: ‘I couldn’t pretend, never seen the light, but couldn’t let you go.’ As she struggled to walk away, Luan now sees and feels the vibrancy in a life without them, something that once seemed impossible. It’s somehow pained and yet hopeful, yearning for a life that she now gets to live in full bloom.

If you’re after an artist that’s unafraid to be unique and colourful, you’ll be thrilled to keep listening to Luan Luan and their new single ‘Nonsense’ for yourself here.

Written by: Tatiana Whybrow

Photo Credits: Unknown

Since stepping onto the music scene, myah has always wanted to be much more than just a musician, creating cinematic masterpieces within what she makes. As the creative force behind her music videos and the talented songwriter that stays digging into painful experiences, she knows exactly how to deliver. Meshing soft pop female familiarity with emo angst and vulnerability, she’s found quite a niche that’s left her feeling like one to watch for some tim now.

As always with her works, myah dives deep in her newest single ‘dodging bullets’, pairing something catchy with something you won’t be forgetting anytime soon. Between a playful acoustic guitar strums, a loose riff and a steady beat is the perfect gentle base for myah to lay out all her admissions, reflecting on the painful wound of missing someone she once cared for: ‘it’s been how many months since you saw me, memories living rent free.’ Her slow, haunting vocal delivery is the perfect compliment to it all, keeping things stripped-back and yet still uniquely unfolding with her rich, developing riff.

Things strip back for a pre-chorus reflection, singing ‘now I’m stuck in the present without you… my life’s a mess living in deja vu’, pained and poignant without any soundscape to hide behind. Picking up into the chorus with striking beats, layers of guitar, scattered electronic beats and whirs and haunting backing vocal hums, myah fleshes things out for an atmospheric moment that lingers with you. Her words are just as powerful, asking ‘why does dodging bullets even hurt me?’ as we learn she walked away before getting herself more hurt, and yet still finds herself aching for what could’ve been. It’s easy to romanticise what might’ve happened, how someone could’ve treated us, and we’ve all likely felt the pain of the one that got away. But myah’s finally put it into words and sounds, capturing that stinging sensation even when you’ve almost certainly avoided heartbreak: ‘feels like a knife pushing through me, the wounds cut deep, I’m bruising.’

If you’re after an artist that keeps it real and refreshing all in one, you can keep listening to ‘dodging bullets’ for yourself here.

Written by: Tatiana Whybrow

Photo Credits: Unknown

Making his debut, the upcomer FOLLOWAY has swiftly set himself as one of a kind, embodying storytelling, nostalgia and fresh energy in his sound that you can’t find elsewhere. Ready to take on the world, this is only the beginning of his vision, with first ever single ‘In My Mind’ just setting the scene for what’s to come if you dare to give him a chance.

From pressing play ‘In My Mind’ is hazy and warm, bottling up gentle guitar strums and backing vocals for an intimate opening moment that feels like the wind in your hair on a summer’s evening. When FOLLOWAY’s vocals hit it soon shifts things up, his every word soaked in heavy vocal effects, creating a whimsical aura to every single line. It’s playful and fun, and yet in some ways still feels aching, like a facade over the top of his pain: ‘you’re still in my mind, I feel your shadow keep haunting me.’ Recorded using vintage tube amps and classic microphones, FOLLOWAY makes sure to blend a more modern feel with analog textures that give it an authentic, emotional delivery you can’t escape. Peppy drum beats and drawn-out backing notes make for an atmospheric but catchy soundscape to match, quick-paced and easy to get stuck inside of while you slowly but surely pick up on the more pained lyricism beneath it all.

The pre-chorus allows for a soft moment where things are paired back, a reminder of the tracks’s initial intimacy before the chorus picks up even further. With distant electric guitar twangs, layers of backing vocals, steady drums and more, the concoction is impossible not to love. It almost feels like a ghost haunting you amidst all the many moving pieces, tying into the track’s narrative of long-distance love as FOLLOWAY yearns for someone to be closer. Capturing the bittersweet mix of their love and yet the sting of emotional distance, the lines hang heavy: ‘the memory of our time… I won’t let you go.’

If you’re after an anthem filled with romance and depth all in one, you can keep listening to ‘In My Mind’ for yourself here, catching the impressive start of FOLLOWAY’s musical debut.

Written by: Tatiana Whybrow

Photo Credits: Unknown