So here we are. Again. If anyone else had a weekend like me they’ve got aching limbs, blisters on their fingers and their head feels like there’s an Irishman living in it. That’s middle age for you. I pulled my calf standing up after tying my boot lace the other day. Silly old twat.
Anywho, here’s Tracks of the Week. Again. It’s very good again. Naturally. Seven bangers. Stick your head under. Lovely.
Ain’t – Pirouette
Why we love it: because ain’t Ain’t pretty darn good?!?! This is only their third single and first this year after the brilliant ‘Oar’ and ‘Teething’. This is perhaps slightly brighter and breezier than the previous offerings. There’s a more U.S slacker Grunge feel, reminiscent of Wednesday. Some excellent feedback and growling guitars, floaty vocals and anthemic outro “Does this entertain you?”. Yes it does.
They’re currently on tour with the equally fantastic Thus Love across the UK and melting faces in many towns and cities. Live they are an intense beast, with the ethereal front woman Hanna Baker Darch a focal point centre stage, part Kate Bush, part Kim Deal.
Guitarist George Ellerby says about the single“I wrote Pirouette during a period of changes: a relationship had recently ended, I was dating someone who seemed pretty disinterested, and I was moving between precarious flat shares. When I started writing Pirouette, Ain’t was just Ed, Jeevan and I; by the time it got to the practice room, Joe, Hanna, and Chapman had joined. Pirouette details the drudgery of break ups and the lethargy that can come with dating, but I feel it’s preoccupied with a sense of something overwhelmingly hopeful and exhilarating falling into place.” (Jim Auton)
Cass McCombs – Priestess
Why we love it: because Cass McCombs having re-signed to Domino Records is already bearing fruit. Having spent an earlier part of his career with the British independent record label, the American singer-songwriter’s first release since his recent return to that imprint is the hugely impressive single ‘Priestess.’
The single arrives in conjunction with Cass McCombs’ NPR Tiny Desk Concert debut where he performed the new track as well as career-spanning highlights including one of his most widely beloved and praised songs, ‘County Line’, from 2011’s WIT’S END (his second album on Domino), ‘Robin Egg Blue’ from its follow-up Humor Risk, and ‘Opium Flower’ off the Not The Way EP. McCombs (guitar, keyboard) was joined by Brian Betancourt (bass), Frank LoCrasto (keyboards) and Austin Vaughn (drums) for this performance.
The studio version of ‘Priestess’ with its references to Ella Fitzgerald and John Prine is a deeply poignant elegy to a lost friend comes accompanied by an equally moving lyric video comprising a series of photographs from McCombs himself. (Simon Godley)
Me Lost Me – Compromise!
Why we love it: because ever since first catching Me Lost Me in concert 18 months ago, she has remained firmly on our radar. The solo project of Newcastle-based artist and experimental songwriter Jayne Dent, Me lost Me will release her fourth full-length record This Material Moment on 27th June via Upset The Rhythm. The lead single from the upcoming album is ‘Compromise!’
With one foot still immersed in her more traditional roots and the other heading off in a futuristic direction, on ‘Compromise!’ Me Lost Me again pushes the parameters of what folk music can sound like.
Jayne Dent wrote the music for ‘Compromise!’ and is joined on the new single by John Pope (double-bass), Faye MacCalman (clarinet), and Ewan Mackenzie (drums). She also made the video by collaging clips of an environment built in Unreal Engine. The sound and vision combine to mesmerising, performative effect. (Simon Godley)
Dope Lemon – Sugar Cat
Why We Love it: Sparkling and sleek Dope Lemon, pulls listeners deeper into his immersive world in ‘Sugar Cat,’ effortlessly blending sophistication with carefree swagger As the third single from his upcoming album, Golden Wolf, it offers another glimpse into its evolving sound. Multi-Award winning artist Angus Stone explains: “This one’s made to make you move deeper into the daydream we hope to continue creating for our lemon fans out there…:The music video was super fun to make. It’s based on a diamond heist, with me ‘hopefully’ sailing off into the sunset with the stolen jewels. It’s a bit of fun.”.
Blending introspective reflection with expansive sonic landscapes, Dope Lemon’s forthcoming fifth album Golden Wolf offers a unique blend of indie rock and psychedelic soul, showcasing the band at their most honest and vulnerable. The album invites listeners to reflect on the choices they’ve made, the paths left behind, and those still to come. Golden Wolf peels back layers of memory and imagination, crafting a rich, evocative listening experience. Seamlessly blending sun-soaked rock with shimmering nocturnal grooves, the album encourages listeners to savour the journey rather than rush to the destination. Like a vast desert landscape, it is both stark and stunning — a place where time slows, and you can lose yourself completely. Golden Wolf will be out everywhere on 2 May 2025 pre-order here. (Carmel Walsh)
Aleighcia Scott – Dod o’r Galon
Why we love it: The sun is out it’s unseasonably warm out there, so what better time than to enjoy some gorgeous Reggae and lovers rock with a twist! Aleighcia Scott‘s sun dappled new single ‘Dod o’r Galon‘ (which translates as “Come from the Heart”) became the first Welsh-language song to hit number one on the iTunes Reggae chart earlier this month. It’s brilliant with a easy sway, joyous horns, rocksteady beats that rock and Scott’s fantastic vocals that swing with freedom, affection and unity. Scott recently told the BBC that she has shocking discriminated against her online, with some telling her that her Welsh-language songs “are not Welsh” – which she believes is due to her race.
Speaking to Lucy Owen on her Radio Wales show, she said “90% of people are always positive” but “you always get that small percentage of people who are just quite ignorant”.
“I know the undertone is that the reason they are saying it’s not Welsh is because there is a brown lady singing the song,” she said.
“I almost had to laugh because how can a whole song fluent in the Welsh language, not be Welsh.“For me, part of the reason why I’m doing this is because of that, so we can stop this happening and people can see a normal Wales and what Wales looks like.”
The artist continues saying why it was “so important” for her to represent both of her cultures – Jamaican and Welsh.
“I feel like everywhere I go outside of Wales, they are also shocked that there are Jamaicans in Wales. But our history here is massive. So for me, it was important to basically incorporate both of my cultures together in my first Welsh track. For me, I didn’t really see a lot of Welsh media and British media that looked like me as a child growing up. If I can be like that for some of the children, they’ll never feel like they don’t belong somewhere.”
With a burgeoning broadcasting career that includes hosting shows on the BBC, a slot as a judge on S4C’s version of the Voice, a fantastic talent for channelling the reggae sounds of the past and bringing them bang up to date stamping them with her unmistakable personality, we think Scott is a multi talented star. (Bill Cummings)
Louis O’Hara – Pass The Blame
Why we love it: Welsh folk musician and producer Louis O’Hara has just released ‘Pass The Blame’ the self titled first single off his second EP on the 18th March via Half Normal Records, and we are rather taken with it.
Carrying a plaintive melody and a sighing melody, ‘Pass The Blame’ is a self-produced ballad of reassurance to a family member dealing with an abusive parent. Written on Louis’ grandmothers old piano, the arrangement is built up from the piano up and features the unusual combination of clarinet, lap steel and cello. It reminds one of the elegant work of Euros Childs solo, or the bittersweet sounds of Sparklehorse, with maybe a drop or two of the plaintive moments of Paul Mcartney’s songwriting, it’s very promising and gently moving moment that offers a hand on the shoulder, it shows O’Hara is a songwriter with a wealth of promise. It was mastered by James Trevascus who has worked with the likes of Nick Cave, Geoff Barrow and PJ Harvey. The release will be promoted with a run of shows in London, Bristol, Manchester, Brighton, Cardiff and Carmarthen.
The four songs on the EP featured heavily in the set lists of Louis’ last summer tour so it seemed right to take them into the studio in September fresh off of that. The songs are a step up in maturity from the first EP. There is a greater sadness to them, touching of themes of abusive familial relationships, break-ups and lost friendships. The songs were self-recorded over the course of 3 days by Louis in Bristol with his band ‘His Burley Chassis’. (Bill Cummings)
Avery Friedman – New Thing
Why we love it: Avery Friedman is a Brooklyn-based artist, and her lineup features members of Florist, Sister., Told Slant, and CIAO MALZ. Her beguiling new single ‘New Thing,‘ is the final single (and title song) from April 18th’s debut album. Produced by James Chrisman (SISTER. / CIAO MALZ) and featuring Felix Walworth (FLORIST / TOLD SLANT), ‘New Thing‘ follows previous singles ‘Flowers Fell‘ and ‘Photo Booth‘ which explored themes like growth, resilience, queerness, and change.
On ‘New Thing’ Avery steps amidst nifting duelling strums, twisting tremulous guitar licks and the foundation of tumbling drums, Friedman conjures a wistful introspection underscored by the golden bittersweet melody she spins and how much her emotive vocal really plugs in to pain. ‘New Thing’ processes the anxiety and disorientation she experienced following a knifepoint mugging, which left her feeling foreign to herself. It might be about trauma but sounds like a melodic gem to rival the likes of Soccer Mommy, Blondshell and Phoebe Bridgers, highly promising.
She says: “I wrote ‘New Thing’ in one sitting after riding the subway home alone at night for the first time since being mugged at knifepoint months prior. I was shocked and disoriented by the anxiety I experienced doing something so routine—I felt foreign to myself. It’s one of the first of my songs that I truly loved, which is part of why I chose it as the title of my upcoming record. I’m grateful for how this song continues to bring me back into my body.”
Previously, Friedman had felt that songwriting was just something that other people did, until she found herself pushed by a transcendent live music experience and this traumatic mugging to seek catharsis through words and music. After first appearing on benefit compilations like GUNK’s ‘For Palestine,’ she played her first show in July 2024. (Bill Cummings)
