Inspired by intimate, in-studio collaboration, the EP captures the immediacy and warmth of real-time musical interaction, placing Arwady’s soulful voice and deft songwriting at the centre. Find Dan Arwady: INSTAGRAM  | SPOTIFY  | YOUTUBE The title track, ‘Carry With You’, opens the collection with a gentle acoustic arrangement, enriched by Harry Griffin’s fluid guitar work and Cassie Annunziata’s soulful harmonies. Arwady’s lyrics explore the enduring influence of those who shape us—a heartfelt message to his children about the permanence of love. The interplay between the acoustic guitar and mandolin creates a comforting, nostalgic feel, enhanced by subtle cello accents. ‘Somebody Else’ leans into Arwady’s storytelling strength. The finger-picked guitar lines and Cassie’s harmonies provide a steady backdrop as Arwady reflects on identity and change. Chloé Mendola’s cello adds depth, underscoring the track’s reflective tone. ‘Where There’s Nowhere’ introduces a slightly darker atmosphere. The spacious production allows Arwady’s understated vocal delivery to breathe, with Manny Fassbinder’s basslines grounding the track. The song’s steady build toward a layered instrumental climax showcases Arwady’s skill in arrangement and dynamic control. ‘It’s Not Perfect’ closes the EP with a sense of quiet acceptance. The gentle sway of acoustic guitars and brushed percussion mirrors the track’s message of embracing imperfection. Arwady’s voice is tender yet resolute, capturing the vulnerability and strength inherent in letting go. With influences ranging from Ray LaMontagne to Paul Simon, Arwady blends folk and Americana with lyrical introspection. The live recording approach lends the EP a raw, organic texture, reinforcing its central themes of connection and emotional truth. In Carry With You , Arwady distils complex emotions into simple yet profound musical statements—a testament to his maturity as an artist.

The Lithuanian-Canadian artist’s third album is his most ambitious to date, layering orchestral instrumentation with poetic lyricism and art-folk sensibilities. Following the critical success of his 2024 LP Clay —which received regular rotation on SIRIUS XM and was named one of the “50 best albums of the year” by DOMINIONATED—Aistis solidifies his place as a distinctive voice in alternative folk, continuing to push the boundaries of poetic lyricism and musical experimentation. Personal favourites include ‘Nothing Here Ever Changes’, which sets the tone with mournful strings and pedal steel guitar. Aistis’ vocals are subdued, almost conversational, mirroring the song’s meditation on stagnation and time’s passing. Whereas ‘Rejoice’ contrasts this intimate songwriting with soaring brass arrangements and layered choral harmonies, evoking a moment of spiritual release. Aistis’ command of dynamic contrast is evident as the track shifts from quiet reflection to triumphant resolve. ‘86 (Dove)’ pays homage to Leonard Cohen, both lyrically and musically. Sparse guitar and hushed vocals capture the vulnerability of acceptance, while subtle clarinet swells add a nostalgic touch. ‘The Inpatient’ strips back the ornamentation, leaving Aistis’ raw vocal delivery exposed. The questioning tone of the lyrics is mirrored by dissonant piano chords and muted percussion, creating a palpable sense of unease. Find Aistis: INSTAGRAM  | SPOTIFY  | APPLE MUSIC Recorded at The Treatment Room in Montreal with engineer Gilles Castilloux and co-producer Niall Mutter, the album’s meticulous production allows Aistis’ complex arrangements to breathe. Strings, woodwinds, and subtle synth textures weave together seamlessly. Aistis balances dark themes of isolation and mental health with moments of quiet hope. The album’s conclusion—“A part of me believes the best is yet to come”—reflects this delicate equilibrium. Caviar For Seagulls  is a triumph of vulnerability and artistic vision. Photo credit : Sophia Perras

LIVE REVIEW - CONFYDE "A Coward's Stitches' EP As soon as Confyde took the stage, the crowd was immediately captivated by their presence. A moment of silence fell over the room as the band members introduced themselves and shared what they had in store for the evening. When the music kicked in, the atmosphere was electrified—every beat of the kick drum sent a palpable energy pulsing through the venue. Each song felt like a journey, with the band masterfully weaving stories through their music. It was clear that every note had purpose, drawing the audience deeper into the experience. My personal favourite track from their latest EP, A Coward's Stitches, is Once Broken”. This punchy, high-energy track is filled with heavy riffs that evoke the spirit of the Nu-Metal era, The haunting lead vocals were spine-chilling and added a depth of emotion that made it unforgettable. In short, Confyde is definitely a band to keep an eye on. I can't wait for their next performance! The show itself was a promotional event for their latest EP, A Coward’s Stitches, which was released earlier this year. It's available on Spotify, so make sure to give it a listen and enjoy the full experience! Words by Sophie Alexandra

Following a breakthrough year in 2024, which saw the release of hit singles such as ‘ 23 ’, ‘ Around You ’, ‘ Miss Me ’, ‘ UPGRADE ’, and ‘ Stupid Love ’, ' Paris ' showcases a fusion of infectious hooks and shimmering production, the track demonstrates her ability to blend pop accessibility with an innovative, genre-fluid approach... Speaking on the essence of ‘Paris’, Olivia describes it as “a lover girl journey,” filled with vivid imagery and storytelling. “There are so many little avenues and parts of the song that take you on this visual ride of a girl with a crush,” she explains. INSTAGRAM  | TIKTOK  | SPOTIFY  | YOUTUBE From the opening beat—crafted by producers Aaron Brennan and Daniel Seacroft—‘Paris’ commands attention with its layered, dynamic instrumentation. Built around a pulsating rhythm and crisp, percussive textures, the track exudes an effortless cool, borrowing from hyperpop’s sharp edges while maintaining a polished alt-pop core. Olivia’s vocal delivery is intoxicatingly smooth, moving between breathy, intimate verses and a chorus that bursts with energy. ‘Paris’ paints a vivid, almost cinematic picture of infatuation, unfolding like a daydream fuelled by desire and romanticised escapism. Drawing inspiration from Camila Cabello’s ‘C,XOXO Magic City Edition’ and Addison Rae’s ‘Diet Pepsi’, Olivia has infused the track with layered vocal textures and adlibs that amplify its immersive, larger-than-life quality. The production never sits still—each section introduces subtle shifts, from distorted synth swells to crisp vocal effects that give the track a modern, forward-thinking edge. “Olivia's dynamic musicality sets her apart from the crowd. Her knack for creating infectious hooks and memorable choruses has made her a favorite among listeners.” - Future Leo Music Initially not intended for release, ‘Paris’ was born from pure creative instinct—an experimental outpouring that Olivia’s producers encouraged her to share with the world. That spontaneity shines through in the song’s fluid, unrestrained energy. It’s a track that feels effortlessly fresh yet undeniably polished, a testament to Olivia’s ability to craft pop that is both immediate and intricate. If ‘Paris’ is any indication of what’s to come in 2025, Cox’s ascent is only just beginning.

As the first glimpse into her forthcoming EP Lost Signal , the track immerses itself in retro aesthetics while maintaining a modern, deeply personal edge... INSTAGRAM  | TIKTOK  | X  | FACEBOOK  | SPOTIFY  | YOUTUBE  | APPLE  | WEBSITE Produced by Jim Wallis at London’s Strongroom Studios, ‘Jump The Gun’ is bathed in shimmering reverb, its lush instrumentation evoking the hazy romance of 80s pop, and the captivating aesthetics of the classic American 60s. Delicate synth pads and melancholic guitar lines swirl around Lola’s haunting vocal delivery, creating a soundscape that feels both intimate and expansive. The arrangement is rich with texture—each note lingers in the air like a distant memory, reinforcing the song’s bittersweet themes. Artwork: Stef Martin (Photographer) & Juliet Bryant (Graphics) Press Shot credits: Stef Martin “Blending indie, folk, and dream pop together with a resonant vintage sheen, pulling from a similar well of influences as artists like Angel Olsen, Indigo de Souza, or Sharon Van Etten.” - Under The Radar ‘Jump The Gun’ tells a story of impulsivity, self-doubt, and emotional turbulence; The lyrics unfold with dual meaning—on the surface, the track traces the missteps of a fragile relationship, but beneath that, it’s a reflection on personal anxieties and the weight of overthinking. Lines like “Waiting for the ball to drop and make a loud annoying sound” encapsulate the tension of anticipating disappointment, while the refrain carries an almost confessional quality. What sets Lola apart is her striking vocal delivery, reminiscent of classic crooners yet undeniably contemporary, drawing comparisons to Angel Olsen and Sharon Van Etten. Yet, there’s a theatricality in her phrasing—a quality that makes ‘Jump The Gun’ feel like a moment frozen in time, unfolding like a dimly lit film scene playing on repeat. As the first step toward Lost Signal , this single suggests an EP filled with rich, immersive narratives wrapped in velvety production: Lola Wild has crafted something achingly beautiful—an anthem for lost souls navigating love, regret, and the unshakable pull of nostalgia.

Known for her deeply personal lyricism and emotive vocal performances, Lilly delivers a song that is both vulnerable and uplifting with ' Not Everything Ends ', exploring the rare kind of love that offers solace rather than sorrow... Find Lilly Bedard: INSTAGRAM  | SPOTIFY  | WEBSITE Undoubtedly, she remains a beacon of inspiration for all aspiring artists out there. - Downers Club Opening with gentle acoustic strums, the track unfolds with a warmth that immediately pulls the listener in. There’s an understated folk influence in its arrangement, yet the production remains lush, allowing Lilly’s voice to take centre stage. The melody meanders through unexpected turns, mirroring the raw emotionality of her lyricism. Every phrase feels delicately placed, carrying the weight of personal experience while remaining universally relatable. Lilly’s storytelling is at its finest here, balancing moments of quiet introspection with a swelling chorus that soars. Lines like “You know it’s the right chord progression when hearing it play makes you cry” speak to the organic, deeply felt nature of her songwriting process. It’s a song that was almost lost to frustration—written in the early hours of the morning when inspiration and doubt wrestled with one another—until a single chord progression unlocked its full emotional depth. Bedard’s powerful vocals take the listener through unexpected and memorable melodies. - Background Animal Where previous releases leaned into heartbreak, ‘Not Everything Ends’ represents a shift. It’s a song of hope—of finding permanence in love rather than loss. The arrangement builds subtly, with atmospheric layers that wrap around her voice like a protective cocoon, allowing the emotional resonance to shine. Lilly has crafted a love song that is as introspective as it is expansive, proving she can write about happiness without losing the raw honesty that defines her artistry.

The DSM IV have been continuing their Family Jewels tour with a new string of dates top celebrate their recently released 'Wiseguy' single and 'Negative Utopia' EP. Holly Surguy caught up with them in a rare moment of reflective calm before the storm this weekend! Photo by  @richiebyates “Somewhere between The Stooges primal garage punk and Suicide's screeching futurism...blistering dance-punk” - CLASH What are your favourite aspects of the recording process for your songs? Your’e currently on your newest tour which started recently, how are you liking it? The process of getting from an initial spark of inspiration out of nowhere to a fully formed tune is so exciting and life affirming for us. We use recording as a writing tool to develop ideas and build on. Photo by  @richiebyates Have you learnt anything new from being on this tour? The tour’s going great. Just the continuing affirmation of the kindness of (most) strangers and that the rock and roll spirit still lives. Having listened to your older music and newest stuff, I noticed they differ in styles quite bit; which would you say is your favourite album you’ve released yet? We’re thinking of releasing a Greatest Hits record soon. It will be a compilation of every song we’ve ever released. That will be my favourite album of ours. Stream NEGATIVE UTOPIA on SPOTIFY now! Who first inspired you to make music? Music has been an integral part of all of our lives since day dot. It only made sense for us all to continue that journey. Which genres would you say your music best fits into and how is your music received within those scenes in a modern age where music tends to bleed into more than just one specific genre? We don’t really fit into a box. I don’t think music fans care about genres anymore. They just want good music. We write earnestly and sincerely, without trying to steer the music in any particular direction. It just goes where it needs to, which leads to some really interesting places. Regarding the DSM IV, would say mental health effects your relationship with music and why you make it? Mental health effects all of our daily lives whether we like it or not, it’s inescapable. Being able to channel these challenges into a creative outlet is a beautiful thing. What are your expectations for the tour, where are your favourite venues to play and how has Negative Utopia been received so far? The tour has been a great mix of seeing old faces and new ones. Lots of new cities we’ve never played before, which is exciting. I’ve seen loads of amazing music and Night And Day Cafe in Manchester, so playing there was a special moment for me. Shacklewell Arms is always a good time too. Negative Utopia has gone down a treat thus far! Really exciting to be able to add new tunes to the set. Poster by Karlos Lehover Debut Album NEW AGE PARANOIA  Out Now via 9x9 Records Stream and share - https://tr.ee/OdE4QCQUUf Purchase - https://www.9x9records.co.uk/shop   See The DSM IV tonight at The Grove, Notts. Limited tickets on sale on door only - £12 7.00 pm Doors 11 pm Curfew

This week we're getting familiar with ethereal goth balladeers ' Modern Coven' for a brief spell before their gig at The Grove this Friday, we tried to get another pun into this intro but, curses! We couldn't think of one! How did you meet? We met in 2012 while studying at the same college doing different courses, so we almost never crossed paths until we connected via socials, one day we just decided to go for a coffee together because the vibes were clearly unmatched and we’ve been close friends since. We started making music together around 2018-2019. Who are your biggest influences for your music Ruth - My biggest influences come from a mix of the soundtracks you might find in existential horror films and my dads music taste - I grew up on The Steets, Radiohead, Aphex Twin, a LOT of reggae, and naturally converted to the 2000’s 3rd wave Emo phase. My favourite artists now and in the last decade would have to be Alex G, Big Thief, and heavier stuff like 90’s sludge rock Acid Bath and Chat Pile. Right now though I can’t stop playing Magdelena Bay, which is cute synthy dream pop. I basically love anything that evokes some sort of sense of painful, all-consuming yearning for something or someone unreachable! Aly - I really do love all kinds of music, especially Blues, 90s rock/grunge and 2000s pop. I could be here all day listing my favourites but the ones who inspire me the most when creating for Modern Coven have to be, Lana Del Rey, Massive Attack, Radiohead, The Marías & Portishead. Which witch would you most love to be? Ruth- The one in The Witch directed by Robert Eggers, you know - the one you only see for a split second but haunts you for the rest of your waking life! Aly- Definitely a water witch / river hag, think of the folklore legend Jenny Greenteeth and you'll get the idea. How would you describe your music to new listeners? Ruth- Despondent harmonic ethereal beats to menacingly conjour to Aly- Ethereal and in some places cinematic, vocal harmonies that lul you to sleep (or death) and a soundscape that paints an unsettling yet dreamlike feeling. If your music could be played in any movie genre, what would It be? Ruth- Biblically accurate Christian adaptations of popular movies during a scene where someone is having an exorcism. Or a rom com. Aly- Definitely horror or supernatural, think American Horror Story, Twilight, True Blood, The Conjuring, we've had many visions of our songs playing in horror games also. How did the two of you decide to make witchy music? Ruth- I don’t think I’m physically capable of writing cutesy cookie-cutter pop songs or an indie banger. Every time I try, it comes out sounding like the devil itself playing a banjo through a broken speaker in H&M. Aly- If I'm not mistaken, we never actually discussed or decided on making witchy music, it just happened and well... some would say there was some sort of magic at play when we decided to start writing together... You’ve been paying more shows recently, have you got a favourite Nottingham venue or place that fits the style of your music most? Ruth - We absolutely loved Simon from the Chamelons new spot, The Mist Rolling inn. We love any venue with a historic background because it feels like we’re singing to the ghosts. Always makes for a better show when the spirits turn! Aly- What Ruth said! The Chameleon will always hold a huge space in our hearts even though we never had the opportunity to play there we spent many nights supporting the venue. We're very excited to play a new independent venue called the Grove! We also recently played in a Chapel in Sheffield General Cemetery and that was by the most ideal location we've ever played in terms of entertaining the ghosts. (We left without levitating or any demonic attachments so I think they liked it! Interview by Holly Surguy Modern Coven  play The Grove  in Sneinton market with Hurstfall   and Joshua Todd  supporting The DSM IV on Friday 21st Feb. Tickets are £10 advance and £12 on the day via Gigantic  or Fatsoma Tickets Join, invite and share the FB gig here! Poster by @ruzosk_design

London-born singer-songwriter Lolli Wren is making waves with her latest track, ‘All Mine’, from her debut album, ‘To Build A Sea’. With a sound that’s both epic and dark, this alternative rock anthem is a raw exploration of independence, healing, and triumph over childhood trauma. It’s an emotional rollercoaster—dynamic, powerful, and unapologetically honest. The journey of ‘All Mine’ began when producer Eduardo Moreira  sent Lolli a haunting guitar riff. “I looped it over and over again,”  Lolli recalls. “It inspired me to tell the story of my life so far.”  As the melodies and lyrics emerged, she found herself facing some of her most profound memories. The result? A song that balances delicate vulnerability with explosive empowerment. At its core, ‘All Mine’ is about reclaiming power. “It’s my declaration of independence and acceptance,”  Lolli explains. “I wanted to capture the highs and lows of being human—the messiness, the pain, and ultimately, the strength that comes from embracing it all.”  This authenticity resonates deeply, amplified by her haunting vocal delivery and emotionally charged performance. SPOTIFY  | WEBSITE  | FACEBOOK  | INSTAGRAM  | Press photo & Cover art credit: Carolina Remaerd The track’s music video has already caught the attention of major YouTube reaction channels, including The Charismatic Voice , where Lolli’s vocal prowess was met with awe. “Watching people connect with my story is incredible,”  she says. “It’s proof that vulnerability can be powerful.” Musically, ‘All Mine’ is a masterclass in alternative rock. It layers electric guitars with live acoustic drums, creating an atmosphere that builds to a dramatic climax. Lolli’s voice—powerful yet ethereal—cuts through the instrumental chaos, guiding listeners through her emotional narrative. Fans of Jeff Buckley, Kate Bush , and Tori Amos  will feel right at home, drawn in by the poetic storytelling and raw vocal power. With more music on the horizon, Lolli Wren is just getting started. ‘All Mine’  isn’t just a song—it’s a statement, an emotional purge, and a testament to her fearless approach to music. ‘To Build A Sea’  is out now, inviting listeners to dive deep into Lolli’s world of healing, resilience, and poetic beauty. If you’re ready for a cathartic musical experience, ‘All Mine’  is waiting for you. Listen now and join the conversation—what does the song mean to you?

Nottingham postpunk goths Hurtsfall have been making electro waves up and down the country the last couple of years with their unique sound that's been compared to Bowie, Depeche Mode and The Damned. Holly Surguy caught up with lead singer, Sam Harrisson Emm ahead of their debut INFL gig at the Grove on the 21st Feb supporting The DSM IV. Tickets onsale now - £10 advance/ £12 otd How did you all meet? The other guys used to be in a band called The Death Notes. Their singer and drummer left so they started again as Hurtsfall. They got a new drummer, and then started looking for a new singer. They put an advert online, I auditioned, and the rest is history! How do you translate the atmospheric quality of your recordings into your live performances? There’s a few things at play here: so we have backing tracks, Jamie uses a couple of keyboards which have different sounds, and Mike plays a mix of bass, rhythm, and lead, on a six-string bass guitar. When you put all that together we sound a lot bigger than three people. I’d say it’s more of a challenge for us to do the opposite. Most of our songs are written, then performed live for a while, then we have to work out how to get what we love about the song into a studio version. Is there any particular message you try to get across with your lyrics? Each song is different, I mean that lyrically and musically. We are quite eclectic and you’ll hear lots of different genres coming through. So that means lyrically each song is going to be quite different too. Every song has a meaning but not necessarily a message. What guides me is authenticity. It’s about serving the song, whatever fits best is what goes. I’m careful not to try and self-censor or interfere with my own creativity. I just trust that the common thread that holds the Hurtsfall lyrical style together is my commitment to expressing myself honestly. I know people connect to that without there being any one specific message. How has your music evolved since your formation in 2018? Our sound has definitely evolved. When we first started out we were much more post-punk, even a little shoegaze at times, now we’re more synth/pop. Since our guitarist left, and our drummer passed away, we considered replacing them, but instead went down a more electronic route with drum machines, and Mike’s creative use of a six-string bass. That’s something that has become a signature of ours and makes us stand out. Are there any notable changes in your style or approach? I think the biggest change in style and approach is being confident in our sound. We’ve really created our own sub-genre (Goth & Soul) that I don’t think is exactly like anyone else. You can compare the odd section or song to our influences, but as a band I like that we have made something unique. How has the Nottingham music scene affected your audiences and rate at which you get new music out there? Nottingham has a great music scene. Like everywhere there are challenges, but overall there’s still a decent amount of venues putting on a lot of good acts. The Nottingham music scene punches above its weight and is comparable to larger cities. I don’t think most of the country is aware of how good it is here. We’ve been able to build a small (and ever growing) local following. There’s a real community spirit here. I wouldn’t say the Nottingham music scene has affected the rate at which we put music out as we made the decision early on to only release singles for a while. This was due to the industry climate, and based on research. It’s much easier to promote one song to radio, bloggers, playlisters and the like. An album can get lost in the shuffle. It’s been a few years now though, and we’ve had so many people ask where the album is. We reached a point where we felt it was time, so we’re working on that now. Poster by Karlos Lehover What’s coming up for you all and what would be your ideal support slot this year? We hope to get the album out. We have a couple of singles that we are very excited to release soon. We have lots of gigs and festivals booked including: Corporation Sheffield, returning to Whitby in April, and the Infest Warm-Up in Manchester. They are all with great artists but our ideal support slot? We’re all agreed on The Chameleons. I’ve been listening to them a lot recently. They’ve just been so influential to so many artists, and I think our sound would compliment theirs. It would also feel so good to represent Nottingham as part of their tour. This is me putting that out into the universe. We’ve opened for some of our favourite acts already so it could happen. Dreams can come true! Hurtsfall play The Grove in Sneinton market with Modern Coven and Joshua Todd supporting The DSM IV on Friday 21st Feb. Tickets are £10 advance and £12 on the day via Gigantic or Fatsoma Tickets Join, invite and share the FB gig here! Poster by @ruzosk_design

Known for their eclectic blend of indie rock, dream pop, and post-punk, the Berlin-based trio brings their restless energy to life through striking cinematography and mystical melodies Alea’s nervous, urgent vocal delivery contrasts with Claire’s ethereal, Cocteau Twins-inspired harmonies, a dynamic that the video translates into sharp juxtapositions between light and shadow, motion and stillness. The video plays with fragmented imagery, reflecting the emotional contradictions at the heart of 2009 —a song about masking feelings of exclusion with contempt, feigning superiority while battling inner turmoil. With a raw yet deliberately stylised aesthetic, the visuals amplify the song’s themes, turning its anxious pulse into an immersive viewing experience. FACEBOOK  | INSTAGRAM  | WEBSITE  | YOUTUBE  | SPOTIFY Shot in dimly lit urban spaces, the video mirrors the isolation and longing embedded in the track’s lyrics. Alea’s jagged guitar riffs cut through the atmosphere like restless thoughts in the night, while Agathe’s driving drums create a mounting tension that the visuals embrace—flashing neon hues against murky backdrops, fast-paced edits juxtaposed with moments of eerie stillness. Swiss Pleasure’s DIY ethos shines through, as the band plays with contrasts between grit and dreamlike beauty, capturing the inescapable feeling of watching others move forward while standing still. Perfecting their visuals, the new music video adds visual depth to the body of work, exploring energetic yet reflective narratives: The lyricism looks at the emotional defense mechanism of adopting contempt to cope with feelings of exclusion. Alea’s nervous and energetic lead vocals contrast with Claire’s haunting, dreamy backing vocals, creating a compelling tension. Agathe’s drums, inspired by Fontaines D.C.’s "in ár gcroíthe go deo," drive the track with a sense of urgency, while Alea’s guitar and Claire’s bass provide an excellent foundation. Press & Cover Photo Credit: Theodora Gkoutsampasouli The release of the 2009  video marks an important moment for Swiss Pleasure, following the release of their debut EP Heliotropia , which was released in August 2024. As Swiss Pleasure continues to carve out their space in the indie music landscape, 2009  stands as a defining statement—both sonically and visually—showcasing their ability to turn emotional conflict into an unforgettable artistic experience. "'2009' is a song about adopting contempt as a coping mechanism against feeling left out," the band explains. "It invites listeners to reflect on their own feelings of hurt and anger."  SWISS PLEASURE

Blue Capricorn carves out a bold new sonic identity with ‘Hear Me Out’—a restless, hypnotic fusion of electronic minimalism and raw emotional weight. The track’s synth pulses and layered textures unfold with deliberate patience, crafting an immersive, almost meditative atmosphere that lingers long after the final note: As the lead single from his forthcoming EP, ‘Hear Me Out’ encapsulates the artist’s evolving creative voice, seamlessly blending the leftfield production sensibilities of Nicolas Jaar with the introspective urgency of Yves Tumor. Find Blue Capricorn: Facebook  | Twitter  | Instagram  | YouTube  | TikTok  | Spotify From the outset, ‘Hear Me Out’ builds upon an intricate web of gliding synth tones, fractured vocal samples, and a pulsing rhythm that refuses to settle. The production leans into space and restraint, allowing each element to breathe—every reverberated key, every flicker of percussion feels meticulously placed, yet instinctive in its execution. Blue Capricorn’s penchant for improvisation is evident in the organic way the track ebbs and flows, as though it's unfolding in real time. Vocally, Blue Capricorn delivers a subdued yet aching performance, his voice emerging like a whispered plea between the track’s glacial beats. The lyrics capture a deep yearning for connection, navigating themes of vulnerability and the need to be truly seen. His words don’t dominate the production; instead, they weave into the fabric of the song, reinforcing the tension between intimacy and distance. A standout aspect of ‘Hear Me Out’ is its textural depth—beneath the surface, subtle distortions and manipulated samples provide a sense of movement, adding a tactile quality to the composition. The track never rushes its momentum, yet it carries an undercurrent of quiet urgency, drawing the listener deeper into its world. The influence of Blue Capricorn’s experimental approach is undeniable, yet ‘Hear Me Out’ remains profoundly accessible, balancing sonic curiosity with emotional resonance. “I’ve always said my goal is to never repeat myself,” he shares. “This song is about evoking a specific feeling through its instrumentation and elements—a preview of what’s to come in my next project.”   Lyrically, the track explores themes of desire, vulnerability, and the longing to feel understood. “As an artist, how do I make myself feel heard?”  he reflects. “For as long as I’ve been writing music, I’ve struggled with the sense that everything feels close yet out of reach. ‘Hear Me Out’ is an expression of that—of wanting to feel seen, heard, and liberated. It’s one of the deepest, heaviest songs I’ve written.”  If this single is an indication of what’s to come, Blue Capricorn’s upcoming EP promises to be an enthralling, genre-blurring experience. ‘Hear Me Out’ is a striking testament to his ability to merge electronic experimentation with heartfelt storytelling, ensuring that—whether whispered or shouted—his voice is impossible to ignore. Stream ‘Hear Me Out’ now and stay tuned for more from Blue Capricorn.