If ‘Wound Up Here (By Holdin On)’ and its predecessor ‘Elderberry Wine’ are anything to go by, Wednesday’s upcoming album ‘Bleeds’ will be another masterclass in what the band calls “Creek Rock”. Due in September of this year, the record follows their critically acclaimed 2023 album ‘Rat Saw God’, of which they’ve named ‘Bleeds’ a “spiritual successor”.

Frontwoman and primary writer Karly Hartzman shared that the titular line “I wound up here by holdin on” was pulled from her friend Evan Gray’s poetry book Thickets Swamped in a Fence-Coated Briars. Considering the line “pure genius”, Hartzman built an entire song around the phrase, borrowing stories and lived experiences from some of her closest friends to do so. The result stays true to her typical songwriting style, it zooms into the smallest and often grimiest details to convey entire scenes or feelings, whether that be a “pitbull puppy pissin’ off the balcony” or the “puffy” face of a recently drowned man – the imagery is exposing and lived-in.

‘Wound Up Here (By Holdin On)’ harks back to the dynamic instrumentation Wednesday are known for. It moves between catchy country-pop hooks and heavy alt rock, hitting you with sudden moments of noise, distortion, and time signature changes. It’s a balance they have perfected across their records and live dates, and a line they will undoubtedly continue to walk.

Photo by Graham Tolbert

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Pulling influence from the likes of Pavement – with guitar particularly reminiscent of Modest Mouse – the sound they’ve landed on is a melding of country, trad, and early rock ‘n’ roll with power pop sensibilities, a blend they’re loosely calling “Britainicana”. Signposted by a bellow of their own name, ‘Ive Never Met Anyone I Thought I Could Really Love (Until I Met You)’ is assured and bold while still being a surprisingly soft-hearted cut that captures the fear, doubt, and ignorance that hides in the shadow of a first love.

The single features the kind of howls and cracking drums that are bound to excel live, and as such, West Side Cowboy have been adhering to the rite of passage period of formative live shows by playing across the North West, booking festivals such as Beyond The Music, and picking up sizeable support slots for the year ahead.

Photo by Joe Moss

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Made up of Victoria Winter (vocals/guitar), Ethan Williams (guitar/vocals), Sean Terrell (drums) and Cody Hudgins (bass), Brooklyn quartet, Shower Curtain have been slowly releasing tastes of their debut album ‘words from a wishing well’ into the world – with ‘benadryl man’ being the latest cut.

Plagued by a lingering unsettling feeling, ‘benadryl man’ spins a story out of the problem of insomnia and its accompanying nightmares, nightmares that in Winter’s words “[prevent] me from entering a stage of peace, moreover not feeling safe in my home”. The single is driven forward by distorted strings, a portion of the track that was improvised by Catcher’s Zach Mezzo (violin) and Wince’s Wil Ren (cello). In its bringing together of visceral lyricism and screeching strings ‘benadryl man’ emulates the sharp terror of classic horror in an almost Hitchcockian fashion – a feat that cultivates an enviable sinister tone.

The track is joined by its music video featuring work by artist Kati Kirsch, direction from Winter and Cody Hudgins, and additional input from Brazilian-Chilean designer quiet sports. Considering the video is heavily inspired by TikTok’s Calico Critter videos – content that places bunnies in real life scenarios – the visuals are unsurprisingly surreal. Winter had previously gone to see Kirsch’s work exhibited, of which she shared, “She had spray-painted bunnies that were hopping around the gallery. I knew I really wanted to use that piece in a video because it really spoke to me – the bunnies felt like they had their own personality and a life of their own which I loved”.

Photo by Alexis Kleshik

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Co-produced alongside his regular collaborator Alex Farrar, ‘Manning Fireworks’ will be MJ Lenderman’s fourth full-length studio album, and marks his debut release on ANTI-. ‘Manning Fireworks’ follows Lenderman’s success with ‘And the Wind (Live and Loose!)’ in 2023, ‘Boat Songs’ in 2022, as well as his ongoing role in cult-favourite alternative rock quintet Wednesday.

Lenderman has become loved for his ability to capture and communicate emotion in a raw and frank manner, amongst his blend of poignant phrases and nonsensical metaphors, you will always find something to relate to. Today’s lead single ‘She’s Leaving You’ follows a man cheating his way through a midlife crisis, driving a Ferrari to Las Vegas and praising the genius of Eric Clapton, a scenario definitely not experienced by many, yet somehow still striking a chord through his repeated “we’ve all got work to do […] she’s leaving you”.

The accompanying music video was directed by Whitmer Thomas and Clay Tatum and sees Lenderman and his band play in front of a bitter audience for a talent show, arguably, there is no better visual representation of feeling vulnerable. It’s defeated but accepting, honest but with a sense of humour, and all in all is everything you look for from Lenderman.

Photo by Karly Hartzman

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When getting to know Crack Cloud, you get the impression that with every release they get one step closer to enlightenment, finding new methods of relief and broadening their perspective bit by bit. ‘The Medium’ is a dissection of the medium itself, in some ways an appreciation of the essential escape and community music provides, whilst in other ways an acknowledgement of how that can be exploited, it finds happiness in silliness and contentment in spite of misfortune.

Crack Cloud chat to us about the new album ‘Red Mile’ inside Issue Fifty. Pick up a copy here.

With ‘The Medium’, Crack Cloud look at the way music and its subsequent subcultures become coping mechanisms, they sing, “You go out to a show and you sing along, it’s somewhere to belong, you find your place”. The dream-sequence-esque music video follows pop fans and punk fans who have adopted the stereotypical calling cards of their favourite genres, with one leather jacket scrawled with the slogan “The meaning of meaning is meaning!”. It seems we’re being shown how easy it is for people to dedicate themselves to certain media for the sake of belonging to something – for the sake of meaning. This in itself isn’t a bad thing, until they expand with lines such as “catchy platitudes for the restless mind […] who could have thought that the socially reclusive could be exploited for industry usage”. They comment on how music and its dedicated followers can be co-opted and tainted for the sake of the industry’s financial gain – a conversation they started previously with tracks such as ‘Virtuous Industry’ – ‘The Medium’ is both musically and lyrically a ridding of frustration. 

In a recently issued statement, Zach Choy (drummer and frontman) explained that Red Mile follows “the externalisation of Crack Cloud’s mythology, displaced and dismantled as we’ve grown out of ourselves, constantly, creatively reborn, by virtue and design”. As we near a decade since Crack Cloud’s beginning, it’s clear to see that who they are today is a distant descendant of what they once were, distant in everything other than fervour.

Photo by Megan-Magdalena Bourne

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Back in 2022, Nilüfer Yanya released her highly acclaimed album ‘PAINLESS’, an album that provoked remixes from the likes of King Krule and Sampha alongside widespread praise. ‘Like I Say (I runaway)’ marks Yanya’s first release since that time, taking the sound we’ve become so acquainted with a step further and leaning into new territories, bringing with it the news of her signing to Ninja Tune.

Written with her longtime creative collaborator Wilma Archer (Sudan Archives, MF DOOM, Celeste), ‘Like I Say (I runaway)’ is underlined by a bobbing riff and bassline and welcomes the familiar distorted grunge of the alternative 90s. The track’s music video was directed by Yanya’s sister Molly Daniel, placing her in the role of a runaway bride whilst she muses on the inherent and unique value of time.

Yanya expands, “It’s about how you choose to spend your time. Time is like a currency, every moment. You’re never going to get it back. It’s quite an overwhelming thing to realise.”

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Formed in Phoenix, Arizona, Glixen were founded out of the local scene of emerging DIY artists, they have since played across the U.S. and released their debut EP ‘She Only Said’ last year via tastemaking Philadelphia-based label Julia’s War (MJ Lenderman & Wednesday, feeble little horse). Now well and truly introduced, Glixen are lined up to tour with Interpol, DIIV, and SASAMI all the way up to early Summer as they approach their sophomore EP.

With ‘lust’, the quartet tease what can be expected from their Sonny DiPerri (my bloody valentine, DIIV) produced second EP due for release later this year, aligning them with some of shoegaze’s most notable heavyweights. Atop the resonance of nu-metal guitar and grungy textures, Aislinn Ritchie’s vocals carve delicate melodies, contradicting yet complimenting the instrumentation so thoroughly whilst developing their signature style.

On the track, Ritchie shared, “‘lust’ is about the yearning and wanting of somebody and the rush that that person makes you feel. It is a feeling that is shallow, yet it feels intense and passionate but only for a moment. We wanted to take the direction of our sound to a heavier place, I wanted the weight of the sound to crush me.”

Also Read: Arizona’s Glixen Share Video for ‘Moodswing’

Photo by Nick Balanon

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The band explained, “Nothing seems to work anymore, everything sleek and new falls apart, malfunctions, or is security protected”.

The single comes only a few weeks before their debut album, ‘10 Songs I Hate About You’, due for release via Spanish label Meritorio on March 15th. Recorded and mixed at Green Door Studio by Ronan Fay and mastered by Álvaro Lissón, ‘10 Songs I Hate About You’ endeavours to pinpoint a signature Dancer sound, one that collates both what they have been and what they are into one fine-tuned bundle.

Vocalist Gemma Fleet added that ‘Bluetooth Hell’ “started with a thought triggered from the infuriating reality of trying to pair Bluetooth devices, specifically headphones issued to me at a new job. I just quite like a wire, call me old fashioned, but it’s generally reliable and doesn’t run out of batteries”.

Addressing modern qualms from the perspective of the noughties’ more mathy corners, Dancer have identified and leaned into their strengths, a fluency that is sure to prove valuable to their debut.

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The band explains, “It feels like a perfect return to where it all began! With these new songs we tie a bow around this time in our lives, and all the experiences and songs we’ve shared over the years.”

With ‘Common Blue’, the quartet – made up of Theresa Wayman (vocals, guitar), Emily Kokal (vocals, guitar), Jenny Lee Lindberg (bass, vocals), and Stella Mozgawa (drums) – deliver a masterclass in their trialled and tested craftsmanship. Particularly uplifting, the track affirms “we’ve only got one life to live” and “we could be a butterfly”, a sentiment that runs beneath the entire track, almost subliminal in its intention to inspire and warm. On this, Wayman shares, “It’s intended to inspire freedom! ‘Common Blue’. Rising up again and again, climb a ladder to the sky, catch the view like a butterfly! Everything is possible… it ain’t over till it’s over!”.

‘Common Blue’, and its accompanying video documenting highlights of tour, are an ode to the twenty years Warpaint have spent together. The video closes with “Thank you for riding with us for 20 years…”, both reflecting, and encouraging us and themselves to look forward towards what is to come.

Pre order the vinyl here.

Photo by Richard Ramirez Jr

Also Read: Goat Girl Return with New Single ‘ride around’ and Announce New Album

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