The extremely limited debut EP on So Young records from NYC’s Been Stellar. Been Stellar is what you get when you leave the youth alone in a metropolis; they grow up. They make noise. Their songs are formed and lived somewhere on Broadway, on Hester, on 34th, in Union Square, on the bridge, in the gutter, and under your shoe. The trivial street scenes lip sticked by well-loved decades are fully recognized in Been Stellar’s hail of guitar tones and insistent lyrical earnesty. Crackly, bright and distorted – stories of violence, love, and a new, un-glamorous, New York City.
NYC rockers Been Stellar take Larry Clark’s iconic cult movie as the basis for a scuzzy slacker anthem that opts out of trying to make sense of the world and, instead, embraces the chaos.
Following the release of mega single ‘Manhattan Youth’ last month, Been Stellar share their debut, self-titled EP this Friday.
The Brooklyn five-piece have been generating some serious heat in the UK and have just wrapped up their first UK headline tour, gathering what might go down in history as the coolest looking bunch of people ever recorded in one room for their headline show at The Windmill. They hit the road again in November, supporting Just Mustard around North America.
Brooklyn trio Upper Wilds features Dan Friel (ex-Parts & Labor) on guitar, vocals, and effects, bassist Jason Binnick, and drummer Jeff Ottenbacher and is really exceptional at making fuzzy-noisy songs with big pop riffs, usually concealed within explosive sonic textures. They’ve now released the third in a series of albums about the planets, Venus, and the band is continuing their way further out as they go, planning to release a seven inch when they get to Pluto.
Friel confides that he’s still learning how to be a singer-songwriter after starting with interesting and possibly noisy textures. He prefers using the open tunings of Glenn Branca, tremolo picking, and effects that can ring and chime forever. Friel says that the lyrics just write themselves, themed around the planet named for the god of love, which also happens to be a “backwards-spinning hellscape that melts every camera we send there…”
Hear through the noise to the melodies as Upper Wilds plays very fast love songs from Venus, remotely from their practice space.
Squealy-fuzz noise-pop trio Upper Wilds throws down cathartic love songs with explosive sonic textures and insidiously catchy melodies. They play very fast songs from the album, ‘Venus,’ remotely from their Brooklyn practice space for the Soundcheck Podcast.
Nation Of Language are a Brooklyn-based indie-pop band who are bringing a modern twist to synth-punk and new-wave music.
The indie pop act Nation of Language will play a string of shows across the UK in January 2022. The tour will promote their new album “A Way Forward”, which is set to be released on 5th November. It continues the successful formula of new-wave synths, haunting vocals and propulsive drum beats which defined their critically lauded debut “Introduction, Presence“.
While much of the sounds on the band’s previous record garnered comparisons to the synth-punk sound of the 80’s, on this new offering the band delved heavily into the Krautrock pioneers and electronic experimentalists of the 70’s for inspiration in the studio, stretching their boundaries in new and different ways.
The musical trio’s first single from the album ‘Across That Fine Line’ was released this June. Singer/songwriter Ian Devaney said of the track, ‘”Across That Fine Line” is a reflection on that moment when a non-romantic relationship flips into something different. When the air in the room suddenly feels like it changes in an undefinable way.
‘It’s a kind of celebration of that certain joyous panic, and the uncertainty that surfaces right after it.’
We drew a lot from the steady locomotive rhythms of bands like Kraftwerk and Neu!, while also looking to less-propulsive electronic artists like Laurie Spiegel and Cluster. The goal was to have a record that felt like a journey, like being on a train that gets lost in a colourful fog, and then suddenly bursts through into different landscapes. Thematically, some of those landscapes are familiar in their melancholy, but we also wanted to introduce celebration and joy in a way that hadn’t really been present in our previous album. Having these bursts of positivity felt like it gave the emotional low points more resonance, giving a stronger sense of emotional reality to the album overall.”
Nation of Language performing “SONG” live in the KEXP studio. Recorded October 13th, 2021.
Songs: Across That Fine Line Wounds of Love This Fractured Mind The Wall & I
Following the taut, snappy mini-album that was 2019’s ‘Shiny New Model’, New York’s Bodega serve up a second full-length LP of snarky, caustic observations. Inspired by Heidegger’s theory of “thrownness” and lockdown book clubs, ‘Broken Equipment’ is another intelligent collection of angular, arty post-punk.
Here’s the first single from Bodega’s upcoming album “Broken Equipment”. “Doers” sports a fatter sound than we’ve heard from Bodega before but, lyrically, still finds them critiquing our technology-dependent world, in this case the state of hyperproductivity many of us seem to be in.
The follow-up to the band’s acclaimed debut album, Endless Scroll (2018), and 2019’s Shiny New Model EP, Broken Equipment was inspired by a book club. In the early months of 2020, the Brooklyn art-punk incendiaries gathered together with close friends to study the works of a wide range of philosophers. Passionate debates lasting long into the night became a regular occurrence, motivating the band to become as ideologically unified as the weighty tomes they were reading. Broken Equipment is BODEGA’s attempt to interrogate the external factors that make them who they are, propelling existential quandaries with tongue-in-cheek humour, highly personal lyrics, and irresistible grooves.
Big one for the Dinked series here, as the Brooklyn post-punk group’s long-awaited second gets crammed with an alternate glow-in-the-dark sleeve, a flexi with a non-LP track, and an exclusive vinyl colour variant.
Bodega’s album “Broken Equipment” is out March 11th on WYR?
Bambara have announced “Love On My Mind”, a six-song mini-LP that will be out February 25th via Wharf Cat. If the start of the breakthrough for Bambara was the radically reimagined sound of 2018’s “Shadow On Everything” (dubbed by NPR a “western gothic opus”), then the moment it truly arrived was on the cinematically riotous noir-punk of 2020’s “Stray”. In the UK, buoyed by the enthusiasm of 6Music DJ Steve Lamacq (who called the band, “one of his favourite discoveries of the year”), the band rose sharply, immediately selling out shows across the country. Meanwhile, back in their native US, KEXP’s John Richards echoed the same sentiment. Things were set. In fact, tickets had just gone on sale for their biggest show to date, a 1500 cap headliner at London’s Electric Ballroom. Then…well, then same as for everyone. Shutdown, lockdown, hibernation, nothing. It was a hammer blow. But rather than rue their misfortune, the band desperately tried to turn it into a positive, immediately moving to try to make more, and they were determined better, music.
The result is the career-high ‘Love On My Mind’ – a six song mini-album, mixed by Claudius Mittendorfer that condenses all the energy and darkness that has made Bambara so compelling but rearranges them into something defiantly new. Not that getting there was easy. With the band’s core (twin brothers Reid and Blaze Bateh, the singer and drummer, and childhood friend William Brookshire, bass) scattered across the US, they remotely pieced together an EP but as soon as it was finished, they scrapped it. In their words, it felt “dishonest”. They were striving for something new and they hadn’t hit the mark.
Here’s the storming, smoky first single.
They realized they needed to change approach so at that point they decided to reconvene in New York. Finally, things started to take shape. By now, they had a better idea of where they wanted to head. They knew they wanted to include a couple of duets and enlisted the vocals of Bria Salmena (Orville Peck/Frigs) and Drew Citron (Public Practice). They also wanted to expand their sound palette so turned to Jason Disu and Jeff Tobias (Sunwatchers) to add trombone and saxophone respectively. They recorded again, utilizing all these new elements, sampling their recordings as they went along, in the process manipulating the sounds across the EP.
The final result is something astonishing. Opening track, “Slither in the Rain,” all hissing high-hat and spectral synthlines, is a true statement of intent. It’s minimal and atmospheric, foregrounding Bateh’s raw vocals as he introduces one of ‘Love On My Mind’s main characters, years after the events of the album are over, a lonely man who throws bottles at airplanes and dances a two-step in the pattern of a figure-8. While Bateh has always been adept at character sketches, here we are introduced to a newfound vulnerability that runs true through the entire album and causes the songs to hit on a more human level. It’s a change he readily acknowledges. It all just contributes to the picture of something truly special. ‘Love on My Mind’ is another massive step forward for Bambara. This time though, absolutely nothing’s going to stop them following through on it.
Nation of Language just released “Wounds of Love”, “Happy to bring you Wounds of Love – the second single from our next album, “A Way Forward”, due out November 5th 2021. Nation of Language are an American indie pop band formed in Brooklyn in 2016. The group consists of Ian Richard Devaney (vocals, guitar, percussion), Aidan Noell (synth, vocals) and Michael Sue-Poi (bass).
Since 2018, Devaney has also been the lead vocalist for Machinegum, a side project created by The Strokes drummer, Fabrizio Moretti. Moretti provided the drumming on the Nation of Language tracks “Indignities” and “Sacred Tongue”.
Devaney and Sue-Poi were both members of The Static Jacks, but the band became inactive after the release of their second album. Devaney was inspired to start a new project after hearing “Electricity” by Orchestral Manoeuvres in the Dark in his father’s car, a track he listened to in his childhood. What started out as Devaney “fooling around” on a keyboard later evolved into Nation of Language, with the addition of Devaney’s partner Noell and former Static Jacks bandmate Sue-Poi.
The band released a number of singles from 2016 through to 2019, before releasing their debut album Introduction, Presence in May, 2020
Released July 8th, 2021 Written by Nation of Language
“A Way Forward“, their second full-length album, will be released November 5th, 2021.
Brooklyn-based synth-pop trio Nation of Language have shared a video for their new single “This Fractured Mind.” It is the latest release from their forthcoming sophomore album “A Way Forward”, which is due out on November 5th. Watch the James Thomson-directed video below.
Songwriter/vocalist Ian Devaney speaks regarding the new song in a press release, stating: “After I dropped out of college, I spent a number of years delivering pizzas and waiting tables while I lived at home and tried to get a music career going. One ends up spending a lot of time contending with unrealized dreams and feeling jealousy towards those who have moved on. There’s an inferiority complex that can set in, which if unchecked, can lead down a pretty bitter and self-destructive road. This is a song for driving down that road, as indecision and longing and regret cycle together into mania, until finally, at the end, quiet acceptance and peace wash over.”
He adds: “As for the recording itself…for those later movements, we messed around with tape machines, running things at different speeds and sometimes backwards, talking about William Basinksi’s ‘Disintegration Loops’ and trying to see how we could achieve a similarly sombre, ethereal ambiance, but in a comparatively very small space. This one in particular serves as a good example of how, on the album as a whole, we wanted to find a balance between steady motorik endlessness and more spacious ambient moments.”
Nation of Language consists of Ian Devaney (vocals, guitar, and percussion), Aidan Noell (synth and vocals), and Michael Sue-Poi (bass). “A Way Forward” is the band’s sophomore album and the follow-up to their 2020 debut album “Introduction, Presence”.
We’ve got some news we’ve been very eager to share, and the day has finally arrived. Last year, Nation Of Language released their debut album Introduction, Presence in the middle of May — just in time for frontman Ian Devaney’s thirtieth birthday, and right around the time we were starting to creep out of lockdown and see each other again. This wasn’t the original plan: It had been slated for April, and then pushed back thinking they might still get to play a release show in May. Of course, that didn’t go as planned either. Little of the last year and a half has, and you can only imagine the amount of up-and-coming bands who got cut off at the knees, releasing albums that represented years of hard work and incremental growth and then not being able to tour behind them.
First thing’s first: album 2 is coming your way. It’s titled “A Way Forward”and will be out November 5th. The first single, “Across That Fine Line“, is out now . the Brooklyn trio — also featuring Devaney’s wife Aidan Noell on synths, and bassist Michael Sui-Poi — have become noticeably bigger, selling out shows around the country. Also on the other side of the pandemic, they have another new album already, arriving just in time for fans who have found Nation Of Language in the last year and hadn’t been able to catch them on the road yet.
“A Way Forward” is the follow up to Nation of Language’s debut album,“Introduction, Presence” (2020). While much of the sounds on the band’s previous record garnered comparisons to the synth-punk sound of the 80’s, on this new offering the band delved heavily into the Krautrock pioneers and electronic experimentalists of the 70’s for inspiration in the studio, stretching their boundaries in new and different ways.
“Introduction, Presence” was a bold, bright tribute to the classic era of new wave, A Way Forward is often a blearier album, exhuming more primitive drum machines and synths and combining them with trippier ambience without entirely foregoing the danceability and muscularity the band displayed on their debut. You will have already gotten a sense of this from advance singles, particularly “This Fractured Mind” and “The Grey Commute.” But the band also held back some of the album’s best songs and biggest surprises for release day: the swooning head fog of “Miranda,” the haunting and sprawling “Former Self,” the psychedelic lovelorn daydream of “Whatever You Want,” another mesmerizing album finale in “They’re Beckoning.” Altogether, “A Way Forward” in some ways echoes its predecessor, in that each song stretches out in a different direction, chases a different idea. But at the same time, it feels like Devaney has crafted an album that has more of a complete arc to it, an album-length journey through listlessness and shadows and memories.
“In Manhattan”
IAN DEVANEY: I think it sets the tone in a nice way for me. There’s something more subdued about it. I often like when there’s a track that welcomes you into things. That one is very triangular in shape, it basically goes up and up and up and everything swells, then you build to this moment. It’s mostly about building up the emotion right away. It also helps because, similar to the first album, I like the idea that A Way Forward lives in New York. I like that the record has a sense of place around here.
DEVANEY: Although everyone thinks about whatever city they live in, because every city has a Division St. Especially Chicago.
“In Manhattan” has a lot I relate to. I feel like it comes from those early years living here where you are kind of reckoning with fantasy vs. reality — the “Strung along by a fiction/ Read it in a magazine” sentiment.
DEVANEY: “On Division St.” is definitely more of a romantic song, and this one is definitely more of a disenchantment thing. Reckoning with the expectation of what you thought it was going to be like vs. what it’s actually like, both in terms of a lot of things being harder and crummier than you think and the inaccessibility you can feel in so many ways. A friend visits for the weekend and by the end of it you come out like, “Where has all my money gone?” It feels like, in other places, it wouldn’t happen as severely.
I feel like I had to come to terms with the fact that I couldn’t just go out and have fun all the time. When you’re living outside of New York and you’re thinking of what it’s going to be like, I personally thought I was going to be out at bars all the time, having fun all the time, and it just isn’t. There’s still elements you can romanticize, but it’s basically realizing the board is just nothing like what you thought. Some things are great, and some things are not, but it’s often not how you expected it to line up.
“Wounds Of Love”
DEVANEY: To me it feels OMD-ish… there’s a bit of a more conscious decision to go for a kind of classic pop songwriting. That’s something they were able to do very well. The Kraftwerk thing was really that main riff. I wanted to write something that felt like it could be on Man Machine, and that got wedded with the pop song concept.
Originally it was meant to be a much more robotic song.
DEVANEY: It’s funny, I was just listening to a thing recently where they were talking about Kraftwerk and how it’s very cold and robotic but at the same time it’s kind of funky and they were trying to figure out how they were able to do that. When I first made it, it was only the cold parts of the Kraftwerk-ness. So then it was bringing in a bit of rhythmic synth in the background, to take the straight beat and give it a bit of groove.
“Miranda”
DEVANEY: I like to refer to this song as “The Great American Road Trip Song, Dirtbag Edition.” I was thinking about the Vampire Weekend song “Hannah Hunt” and “America” by Simon & Garfunkel. I wanted that sense of fuzzed-out traveling brain in the song. The protagonist is partially the worst versions of myself, partially a fictional character. It’s definitely a song about aimlessness and someone who can’t really commit to anything and doesn’t really have a good relationship to other people or the world around them.
“The Grey Commute”
DEVANEY: I first started writing it in 2017, when the Republican tax plan passed. It was similar to how they were always trying to repeal Obamacare and once they actually had power they couldn’t do it. It was like the dog who caught the car, they had no fucking idea. It was just a talking point for all that time. Apparently with the tax plan it was the same sort of thing. They were like, “Oh, shit.” The thing that ended up passing was basically written for them by the CEO of FedEx. Just handed to them. After that passed, FedEx were owed money by the government instead of having to pay a billion dollars in taxes.
It was one of those things that was so frustrating. You’ll talk about policies you want to pass that shouldn’t be considered ambitious but people are always like “Well, how are you going to pay for it?” Well, that billion dollars is a good fucking start. I think, particularly, when this song was written — I go through periods of paying too much attention to the news that send me into these doom loops in my head. “The Grey Commute” is the only positive thing that’s come from those doom loops, creatively. I’ve never been able to write a song before that felt like it touched on politics that didn’t feel forced or cheesy.
“This Fractured Mind”
DEVANEY: This is the sad townie anthem. It harkens a bit back to almost the early days of Nation Of Language, when I didn’t really know it was going to be a band. I was just living in New Jersey and delivering pizza. The bones of this song were created back then, in 2014. It was still when I was a little more aimless in terms of how to achieve various styles with intention.
It had been thrown in the demo bin, and I found it again while we were making this record and was like “Oh, shit.” Not knowing what I was doing [back then], it’s a very motorik beat song [that worked for A Way Forward]. The synth sounds weren’t right, but if I changed them a bit it lived in that krautrock world. I could re-address the lyrics and flesh the song out and I felt like it could help serve the general album theme.
“Former Self”
This is the big left turn of the album.
DEVANEY: I wanted something that was not as regular kick-snare driven. I wanted to live more in synth music world. The synth arpeggio is what it’s about, and everything else is in support of that. It was written on acoustic guitar. I had just recently gotten a nylon string acoustic, and I was messing around with learning finger-picking. The arpeggio here is what I was drilling on guitar, and all these changes came to me while I wasn’t even really paying attention. It felt like something I wouldn’t have thought to do if I had been like, “I’m going to sit down to write a song.” Then I figured out all the notes I was playing and sent them to the synths and put it together.
There’s a fun aspect of this song, in the support percussion. Have you ever watched the Miyazaki movies, the Studio Ghibli stuff? In a lot of them, whenever there is some sort of large machine going, it feels like it’s a combination of machine sounds but also someone being like psssshhh-psssshhh. That’s something I was playing with in the rhythm of this song. Some of the sounds were just me. It’s both robotic and human at the same time. Also, one of the sounds in “Former Self” is the same sample as the big drum hit in “Indignities.”
“Whatever You Want”
DEVANEY: It lives in a similar space as “Across That Fine Line,” but it’s a bit more about obsession and being drawn to someone who is just not drawn to you. But still getting the thrill, that jolt, of realizing you’re drawn to someone. There’s a bit of a celebration, even if it’s not reciprocated — like, “Oh, I’m capable of this.” I feel like it always makes one feel youthful to be drawn to someone in that way.
“A Word & A Wave”
In the press quote for this song, you said “A Word & A Wave” was about a person who tried to make everyone around them happy, but did little for themselves and ended up feeling spent and empty.
DEVANEY: Yeah, wanting to be there for everyone even if it’s in the smallest ways and just how draining that can be in the long run. Everything that the person is doing, they’re trying to keep everyone OK. They’re always watering their plant making sure that’s alive. In some sense, just being trapped by that.
In terms of me wanting the album to have a sense of place in New York, this is the one that doesn’t fit into that as much, in my own head. When I was writing it, I was picturing this person being in a small, warmly lit bedroom in Portland, Maine. That was why we went up to Portland when it came time to make the video. The only thing I knew about this song is that that’s where the person was in my head.
“They’re Beckoning”
This also began life as a vignette.
DEVANEY: That’s another one, that same feeling came up. Of all the songs, that came in the most uncooked. I really wasn’t sure it was going to end up on the album so it was like, “Yeah, let’s have fun. Probably won’t use whatever comes out, but we’ll see.” With each progressive step we took, I was like, “Oh, shit, that was cool. Maybe we do this,” and Nick would say, “If we do that, what about this, write some more words in this part.” You felt that joy of creation in the moment where you really never knew what the next step was going to hold.
Oftentimes that feeling of satisfaction you get in the studio is, at least for me, different than the satisfaction that happens when you’re in that writing mode at home before you get there. To have that sort of spontaneity happening in the other context was very electrifying. A fun thing about this song is it was composed based on the clicking of a heat pipe in my apartment. I recreated it. I think I tried to see if my mic cable was long enough for me to get from my computer but I couldn’t get over there.
Discussing, Devaney added, “‘A Way Forward’ is an exploration of the band’s relationship to the music of the 70s, through the lenses of krautrock and early electronic music. We aimed to more deeply trace the roots of our sound, hoping to learn something from the early influences of our early influences. Experimenting with how they might be reinterpreted in our modern context – looking further backward to find a way forward. We drew a lot from the steady locomotive rhythms of bands like Kraftwerk and Neu!, while also looking to less-propulsive electronic artists like Laurie Spiegel and Cluster. The goal was to have a record that felt like a journey, like being on a train that gets lost in a colourful fog, and then suddenly bursts through into different landscapes. Thematically, some of those landscapes are familiar in their melancholy, but we also wanted to introduce celebration and joy in a way that hadn’t really been present in our previous album. Having these bursts of positivity felt like it gave the emotional low points more resonance, giving a stronger sense of emotional reality to the album overall.”
Recorded during the lockdowns of 2020, production on the record was divided between Abe Seiferth (who worked on Introduction, Presence) and Nick Milhiser of Holy Ghost!
There is a Rough Trade Exclusive LP and CD with bonus CD featuring 3 exclusive alternate versions of album tracks and 1 remix from Nick Milhiser (of Holy Ghost!)
1. A Word and A Wave (Alternate Version)
2. In Manhattan (Alternate Version)
3. Miranda (Alternate Version)
4. A Different Kind of Life (Nick’s Dub)
To pre-order A Way Forward, you have a few choices: we’ve partnered with Rough Trade to create an exclusive blended red/blue colored vinyl, which also comes with a bonus CD of alternate versions of four songs, available nowhere else.(For our friends in the UK / EU, this is probably going to be the easiest way to get your hands on the record – as many of you know, shipping from the US can be a killer.)
On our website you can find a coke-bottle-clear colored vinyl (as well as traditional black), where you may notice that we have a new shirt available as well.
Brooklyn-based synth-pop trio Nation Of Language have announced a new album, “A Way Forward”, and shared its first single, “Across That Fine Line” via a lyric video for it. They also announced some tour dates. A Way Forwardis not out until November 5th.
Nation of Language consists of Ian Devaney (vocals, guitar, and percussion), Aidan Noell (synth and vocals), and Michael Sue-Poi (bass). A Way Forwardis the band’s sophomore album and the follow-up to 2020’s debut album, “Introduction Please”. That album came out in last May, as the pandemic was really taking off. “We’ve always been real believers in our live show as the best way to reach new people,” Devaney says in a press release. “When it became clear there wouldn’t be any touring, we were sure it was a death knell for the album.” Instead, the album received much acclaim .
In a press release, Devaney had this to say about the new single: “‘Across That Fine Line’ is a reflection on that moment when a non-romantic relationship flips into something different. When the air in the room suddenly feels like it changes in an undefinable way. It’s a kind of celebration of that certain joyous panic, and the uncertainty that surfaces right after it. Sonically, it’s meant to feel like running down a hill, just out of control. I had been listening to a lot of Thee Oh Sees at the time of writing it and admiring the way they supercharge Krautrock rhythms and imbue them with a kind of mania, which felt like an appropriate vibe to work with and make our own.”
Abe Seiferth (who worked on Introduction, Presence) and Nick Milhiser of Holy Ghost both produced “A Way Forward“.
Devaney describes the album’s intent and sound in more detail: “A Way Forward” is an exploration of the band’s relationship to the music of the ’70s, through the lenses of Krautrock and early electronic music. We aimed to more deeply trace the roots of our sound, hoping to learn something from the early influences of our early influences. Experimenting with how they might be reinterpreted in our modern context—looking further backward to find a way forward.
“We drew a lot from the steady locomotive rhythms of bands like Kraftwerk and Neu!, while also looking to less-propulsive electronic artists like Laurie Spiegel and Cluster. The goal was to have a record that felt like a journey, like being on a train that gets lost in a colorful fog, and then suddenly bursts through into different landscapes.
“Thematically, some of those landscapes are familiar in their melancholy, but we also wanted to introduce celebration and joy in a way that hadn’t really been present in our previous album. Having these bursts of positivity felt like it gave the emotional low points more resonance, giving a stronger sense of emotional reality to the album overall.”
“Across That Fine Line” from the album “A Way Forward“, out November 5th 2021
Brooklyn alternative-pop duo Overcoats announced a new EP released on April 7th, featuring a new single with fellow pop innovators Tennis. “Used To Be Scared Of The Dark” features contributions from Middle Kids, Lawrence Rothman, and Ryan Hahn of Local Natives.
The EP is based on self-growth and the quest for stability, and all of the collaboration was done remotely to show how trust transcends physicality. Lead single “The Hardest Part” is a summery folk-pop jam aided by Alaina Moore of Tennis’ buttery-smooth vocals and sparkly keyboards to create immersive harmonies that are easy to get lost in. Reflecting on the making of the song, the Overcoats said: “This song is about coming to terms with a relationship being over. And the hard reality that you may never know where that person ends up or what they do. It’s about letting go. We brought this song to Tennis because it needed their nostalgic retro pop sound to help tell this story. And it needed to be cooler.”
Used To Be Scared Of The Dark EP out June 4th! Listen to “The Hardest Part [feat. Tennis]”, out now
We got to make an EP with some of our favourite artists! Used To Be Scared Of The Dark is out June 4th 2021 on Loma Vista Recordings.
The Fat Angel Sings 