Monthly Archives: December 2014

Sonia Stein – Interview

I first came across ‘Friendly Ghost’ by Sonia Stein earlier this year and instantly fell in love with the engaging, exotic feel of it. She has recently released her first EP, Symbol. I was so captured that I got in touch with her and was lucky enough to get my first ever interview!

How do you begin to write a song?

When I write alone, it usually starts with a phrase that I really want to use. It’s usually some sort of idiom or cliché that I reverse or breakdown and find clever. I’ll usually sit down at my keyboard and build the song around that. Sometimes it ends up being just a small line in a verse, sometimes it ends up being the main lyric or idea of the song.

Do you see you see yourself as a singer/songwriter or do you find that an old fashioned term?

I definitely see myself as a singer/songwriter. The term used in the sense of a ‘genre’ is as confusing as the term ‘pop’ but just the fact that I sing and write my songs means that by definition, that is what I am.

How important do you think image is in the modern day or do you think that songs speak for themselves?

Unfortunately image has become more and more important, as everything we consume is now visual. I wish it wasn’t and personally try to keep the visual statements minimal, as an enhancement to the music as oppose to a whole other element. Identity should feel fluid but in the music industry one has to define it very early on, in order to stand out. It is very hard to pick exactly what you want to be seen as and feel comfortable with it for years to come.

Is it important for you to be a good role model for young girls?

To be honest, I haven’t thought about it in a bigger sense yet. Looking back at people I used to listen to, I always wanted to be a lot like them so it would be great to look back at my track record and feel like young girls could do what I did without having any regrets.

Do you think that being in a good relationship is essential for happiness?

No, I don ‘t think it is essential. I think the people you surround yourself with are a huge part of happiness and that includes family and friends and sometimes, a relationship.

A lot of your songs are about relationships, do you see yourself as a strong female?

Great question. I do feel like a strong female. There is a power and bravery that comes with letting yourself be vulnerable and it’s important not to confuse the now so prevalent term ‘feminism’ with being less sensitive and less in touch with your feelings. Music has always revolved around love and relationships, and I don’t think that women should feel like they can’t express that in the same way as men just to appear strong and independent. You can be strong and independent and still be affected by feelings of love and want.

Who did you listen to when you were in your teens?

I wasn’t as cool as I see teens today, listening to old 60’s and 70’s music. I remember being very into the first two Avril Lavigne records haha. And the band A Fine Frenzy really sent me on my first writing spree at 15.

Other than music, what do you feel passionate about?

I feel very passionate about food and nutrition. I love cooking and eating and knowing what is in my food.

Symbol has strong lyrics about someone not fulfilling their potential. Is this based on a family member or friend?

Symbol is actually aimed at politicians. It was inspired by the hope that a candidate symbolises at the time of a campaign, all the things that they promise, and the choice they make to either fulfil those promises once elected, or disappoint people who’s fate is dependant on them. I do like that it can be interpreted in terms of a friendship, family member or relationship too.

How important is it to be ambitious and fulfil your dreams?

It is very important to aim towards fulfilling your dreams and make sure you stick to your own definition of being ambitious.

Friendly Ghost is my favourite, will it be on the album?

I’m so happy to hear that, I love that song as well. I don’t know if it will make the album, I like the idea of having as many unheard tracks on a new release as I can and since it’s been online for over a year and available to download I might just leave it at that.

A huge thank you to Sonia Stein for being such a great interviewee, I can’t wait to hear the new album in 2015. I’m really hoping to go to her next London gig, and review it!


Links below to SoundCloud, FaceBook, YouTube(video for “Waiting”) and the Amazon link to purchase:



Parralox – Holiday ’14 – EP


Parralox are one of Australia’s best kept secrets, formed in 2008 by the multi-talented John von Ahlen. Since then Parralox have released numerous singles and 5 outstanding albums, including one of my all time favourites, “State of Decay” in 2009.

Parralox are a band steeped in the heritage of electronic music and you hear the loving homage to their musical influences such as  Depeche Mode, Erasure, Kraftwerk and The Human League in both their singles and albums. However do not think that Parralox are merely another band repacking and recycling great moments in musical history. John von Ahlen is a pop alchemist with ability to write, produce and perform a wide range of masterpieces from euphoric pop gems to dark atmospheric soundscapes.

This year has seen Parralox remixing Erasure’s single “Reason” as well as supporting the pop legends on their London date of their “Violet Flame” tour. Parralox have also released their own outstanding pop classic “Crying on the Dancefloor”,  which should have been a global smash if there was any justice in the world.

Finally rounding off this year, Parralox have gifted us in the festive season with “Holiday ’14” . This 6 track EP includes their very quirky version of “Little Drummer Boy”, covers of songs from The Human League’s album “Reproduction”, and a gorgeous new original track called “Shadow”. This has been a very unexpected and pleasant surprise where John von Ahlen pays homage to one of his influences with the usual loving care and integrity which have made Parralox such a treasure since 2008. However it does leave me impatient for a new studio album of original Parralox material, which will hopefully appear soon.


Edelle McMahon – Belle Curve – Début Single – Biography

Edelle McMahon

The musical voyage of Edelle McMahon first began in County Monaghan, in the Republic of Ireland. Starting young, it was through the hugely popular Sean Nós channel that Edelle entered into the world of child stardom, continuing on and reaching great success in Irish folk and traditional music, a current which has continued to the present day. For the past several years, Edelle has been a performing member of Belfasts’ country rockers ‘Jackson Cage’ and more recently joined forces with studio-only based ‘The Badhearts’ who are due to release their first single together in early 2015. Along with being a familiar face on the gigging circuit, Edelle is one of the organisers of popular Belfast acoustic showcase, The Lagan Sessions.

Recently released and aptly named “Belle Curve” is her cleverly worded début solo single. Its origins stem from a retaliation to a good friend, who themselves had composed a comedic and banter filled song referring to the singer songwriters relationship status. What began as a witty and humorous idea, had now started to venture and take itself into darker waters. In the lyrics Edelle found herself reflecting on the lonelier side of being single. Originally intended as a guitar and vocal number, for the singles production, Mark Donaldson had the creative idea for the song to open up with piano and include string arrangements, thankfully this was hugely to Edelle’s liking and approval. Providing the perfect backdrop for “Belle Curve” is a stunning and picturesque video which was filmed on Canada’s “Prince Edward Island” by Richard Brennan.

It was back in May of this year when I first became aware of Edelle McMahon. Along with a feast of other respected Belfast based musicians, Edelle’s jaw-dropping performance of “Demeanour” (co-written with Jim Johnston), was a part of a hugely successful project called “Eastside Sessions”, I fortunately have the DVD (you can watch it from youtube link below). Edelle McMahon has a pretty interesting and bulging itinerary ahead, now treading new waters and in the process of recording her début solo album, also due for release in 2015.  It is with great exclusiveness and much excitement I can reveal “Demeanour” will be featured on this. I have also included the links for; Facebook, twitter and her SoundCloud where you can listen to more from her unreleased songbook, “Pilgrimsville” and “Ships Will Sail” are particular favourites of mine.








Belle Curve (feat. Mark Donaldson & Sakito Oka)

Available from CD Baby

Bright Light Bright Light and Slow Knights – singles


Everything I Ever Wanted (World Aids Day Special Version)


2014 has been a very busy year for Bright Light Bright Light. Not only has he released one of the best albums of 2014 with the outstanding Life Is Easy, he has toured the world as supporting act for the legendary Elton John. He has further collaborated on the gorgeous single “Bruise Easy” by the divine Bridget Barken and has released storming DJ mixes on SoundCloud. He has then finished off this very productive 2014, giving us not one but two beautiful singles to round the year off.

“Everything I Ever Wanted”  was released for World Aids Day 2014, featuring The Pink Singers Choir with the proceeds of the single going to the Elton John Aids Foundation. To be honest, the new version of the song almost brought me to tears listening to it for the first time. Between the moving vocals of Rod Thomas and the soaring harmonies of The Pink Singers, this single takes the listener on an uplifting, emotional and spiritual journey.

The other new single comes from Scissor Sister’s, Del Marquis’ band ‘Slow Knights’ called “Without you”. Following on from their highly impressive début album “Cosmos” released back in 2013, is this fantastic new single. This is a duet with Bridget Barken and Rod Thomas with each vocalist complimenting each other in this emotive and sweeping ballad.

These two singles are further evidence as to why I believe Bright Light Bright Light is one of the most criminally underrated vocalists of his generation. I dearly hope this situation changes drastically in 2015. I am confident that he will finally get the exposure and recognition that he greatly deserves.


Make Me Believe in Hope (The New Batch)

Schiller – Symphonia Live –

Symphonia (Live)

Schiller started life as a duo formed in 1998 by Christopher von Deylen and Mirko von Schlieffen. Their first single Das Glockenspiel met with success in the club scene. They released two albums Zeitgeist and Weltreise before von Schlieffen left the band in 2001. Since then Christopher von Deylen has carried on releasing albums under the name of Schiller and has sold over 7 million worldwide.

On his last studio album Opus, he experimented by merging elements of electronic with classical music which led to great artistic and commercial success in parts of Europe. When I first heard of this album I must admit I harboured doubts, working with an orchestra to interpret established material has been a device used by artists when running low on creative inspiration. However these fears were completely unfounded as Opus was an artistic triumph in my opinion.

This year saw the release of a live album/DVD of a concert held in Berlin with the Symphonic Pop Orchestra called Symphonia. During this concert, Schiller developed his classical muse further by preforming many of his best known original music with the orchestra to astonishing success. Live albums are usually of limited appeal as many times they only really work as souvenir for those lucky enough to attend the concert, or as a chance for record companies to release a Greatest Hits in another guise. Symphonia is a very different prospect, presenting the listener with a bold and simply breathtaking interpretation of some of the finest moments of electronic music.

I have always held a great admiration for the music of Schiller. Christopher von Deylen has the ability to add a warm life affirming character to his unique brand of electronic music. His albums have contained hypnotic, emotive and melodic soundscapes that sound as good on headphones as they do on the dance floor. With Symphonia, he has managed to maintain all the warmth and charm of the original material, but added a whole new grandiose dimension to the music.

There are so many highlights on this album, it would be hard to select individual pieces out, but I must say Sehnsucht (Instrumental), Ruhe, Das Glockenspiel and White still give me goose bumps, even after non- stopping listening to it for a week. Another wonderful highlight from the album is a completely dramatic rendition of Vienna with Ultravox’s own Midge Ure on vocals

Symphonia is quite simply a breathtaking success, pushing Schiller’s music further into bold experimentation and vibrant document of what must have been an outstanding music event.



Miss Irene Rose – EP – Demo




Miss Irenie Rose originally hailing from the Isle of Lewis, grew up surrounded by a wealth of live music. In 2010, inspired by an older sibling, she decided to start making her own music and began gigging. At this stage and something I find hilarious and equally resourceful, Miss Irenie Rose didn’t actually know any songs. She wasn’t going to allow a small detail like this be the fly in her ointment however. Without fear or hesitation, she began to write her own songs. Since then she has moved to Glasgow and played all over the country, supporting touring acts, playing festivals (including Edinburgh this year), Irenie has become a very welcome and regular personality and performer on live radio and television alike, including reaching the semi-finals of the BBC Radio 2 “Young Folk Musician of the Year Awards.”

It is only as recent as September, 2014 that I discovered Miss Irenie Rose, it was on a Sunday afternoon, I was on a total roll, my searches were hovering mainly around Glasgow musicians and the live music scene there. I found lots of great artists and songs that day, but my search was soon to be over. It was the delightful track “River” that first lured me into the wonderful musical world of Miss Irenie Rose. As I began to delve deeper, I found “My Mamma Says”, by this stage I wanted to hear more and to see who this incredibly interesting, unusual, un-boxable, untamed and non-generic voice was coming from.

I didn’t have long to wait,  thanks to the magic of the internet, I was able to view various performances and watch how Miss Irenie Rose performs. I was intrigued, and rightly so, there are many videos available to view online. I was blown away when I watched her using a “Loop Pedal”, this just blew everything else out of the water for me. Including beatboxing into her repertoire, Irenie creates an entire sound on her own, using her phenomenal rhythm and timing, lyrics perfectly matched and layered with the confident depth of her lower voice, right up to where she fully opens up and releases her powerful and bird like vocals. All this comes together producing something very special indeed.

I won’t be putting the music of Miss Irenie Rose into a Genre. I do accept that aspects of her music will fall into Folk, Blues, Gospel and so on, and her voice on occasion, in certain songs, may remind you of some other great female artists of yesteryear. But really with the range, talent and creativity Irenie possesses, teamed with a long future ahead of her, I will happily sit back and await the exciting contribution and wonderful music, I’m certain Miss Irenie Rose, will be making for many years to come.



Offworld Recordings – LM1 – Interview

Allan Cowie
Producer, Radio and Club DJ, label boss Allan Cowie AKA LM1 is making music to get people moving and has been for some time now.

Hi Allan.
What is you earliest memory of Drum and Bass music and how did you like it?

In 1996 I was making my first progressive house tunes and dabbling in other genres. I used to be a regular listener of local radio and DJ’s like Pete Tong,  Jeff Young. I listened to an Essential Mix from LTJ Bukem and was instantly hooked. The amens annoyed me at the time but I love them now. Here I found the perfect marriage of ambient and beats and I bought the progression session CD’s as soon as I could. ‘Horizons’ by LTJ Bukem was and is one of my favourite Drum and Bass tunes.
Back then I had no internet until 2001, I had no idea how big Drum and Bass was, so I continued making Trance, like many, I had the illusion Drum and Bass was mostly jump up. I found Drum and Bass in 2007 by listening to Asc and Indigo Sync mixes, it was then I found the sound I’d been looking for and wanted to make. I took my Ambient and Trance influences to Drum and Bass and somehow made it work haha. I think it gave me a unique angle.

What makes a good Drum and Bass track?

I like many styles of Drum and Bass and I am willing to overlook production which Isn’t the highest quality, if I like the track in question. I’ve worked with artists in the past to help them clean up tracks and make them better for release. I do this because I remember being a struggling n00b with the genre, producing it, scratching my head at how artists make these twisting basslines, phat beats and insanely loud masters.
I’m instantly drawn to more melodic styles of Drum and Bass, as It’s always been what I like musically in general, so that’s something I look for in demos. You can tell a lot about a producer by listening to how much melodic content is played and arranged in a track.
I don’t know if I’m unique in this respect but I like tracks with ‘hooks’ and really nice sounds that draw you in.

Your Offworld label has been running for five years now, was starting the label something you had always hoped to do or just the next logical step to move on from your Bassdrive radio show?

I started Offworld before I started on Bassdrive as an avenue to release my tunes first and foremost, without being at the behest of another label who could take forever to release the tracks. I liked the aspect of being in control. Of course, back then I didn’t know if it would last, but it attracted some great like minded artists and snowballed from there. I’m quite proud looking back at the catalogue, I’ve had some great releases and I get emails from all over the globe saying they love the sounds. I really appreciate that, it makes it all worth while.
Offworld has taken on a life of it`s own now and I see people in photos donning Offworld tee shirts – love it!.
I had to give up the Bassdrive show as I had to undertake study along with my job and the show unfortunately was a big time sink. I  would spend three days preparing a two hour show – picking tunes, working out keys, planning the build up from easy rollers to more energetic tunes, before mixing it all live.
I certainly miss doing the show and may consider a return somewhere, but once a month is quite enough for me. Running a label, producing, working and DJing is quite enough to do!

What are your top three non Offworld tracks this year and who are they by?

1) Keosz & Cruel Culture – Sorrows (Protect audio)
I think it takes a lot of talent to produce subtle Drum and Bass and this is still one of my favourites. Lots of lovely melodic elements and beautiful interplay of the basses. Class.

Sorrow (Original Mix)

2) Actraiser – Cosmic Shift (Celsius)
This guy is going to be huge, he keeps making tunes that just gets better and better. Exciting melodic Drum and Bass with huge reeses and attitude. Always loved Actraiser since his début EP on Offworld.

Cosmic Shift (Original Mix)

3) S.P.Y – (feat. Diane Charlemane) – Airstrike Remix
This is currently part of a remix competition so I’ve no idea if it will get released, but this is stunning and has been stuck in my head for weeks. It sounded massive at the recent Offworld gig when I dropped it.
Mike (Airstrike) is a brilliant Offworld artist and a totally safe dude. I won’t make any predictions about him getting popular, I don’t want to be known as the Jimmy Hill of Drum and Bass fortune telling.

Dusty Fingers (feat. Diane Charlemagne)

Do you have strict criteria to keep Offworld quality control excellent, what would go against musical policy?

It’s always at the forefront on my mind. If a track sounds poorly produced, It`s going to reflect badly on the label. All the guys I’ve released on Offworld are producers who are at a very good standard.
I’m a bit ‘Simon Cowell’ when it comes to demos and follow my instincts to quickly process whether the track in question is well produced, has all the elements sitting nice and is straight up a track I like.
New guys will often sound rough in all areas, I tell them to keep sending tunes over and wait until their sound is better. It takes a good 2-3 years before you get your sound honed I think, but many new guys are impatient and want to be on a label in 6 months. I totally respect fellas who wait until they think their sound is good enough, before approaching labels.
Other than that, it`s strictly Drum and Bass I release (apart from Antibreak’s amazing LP ‘Advent Star’). I do like dark DnB as well, but no clownstep!

Tell us about up and coming producers on your label and their styles.

I have a Nelver LP coming up next in December (out now!) on Offworld which is going to be on CD and digital with some wicked art by Mike Kenny. I’m really excited about it as I think this guy has talent in excess for making melodic and exciting club music. My mind is boggled he hasn’t been picked up by bigger, mainstream labels. I’d much rather listen to his music than some of the crap I’ve heard from big labels.
After the year I’m excited to say, It’s a return to roots for the Offworld sound. It’s leaning back towards the melodic, atmospheric sounds of yesteryear with a contemporary feel. This is why I started the label really.
If I’d had my way, Offworld would be all this type of sound, but I don’t get enough quality tunes of this sort sent over. It’s no surprise I guess as you have to really love this sound to produce it, instead of say, making liquid rollers.
I’ve signed up a fellow Scot Patience for an atmospheric and contemporary sounding EP, and Deskai for a great EP along the same lines as the Parhelia I released earlier this year. I’ll also release another EP from the amazing Silence Groove. Everything this guy makes turns to gold. I’m currently harassing him regularly to make me an LP.
There’s been a few moments where I wasn’t sure I’d even have enough of the music I like to continue to run Offworld, but music finds its way to me at the right time. It’s been tough competing with the likes of triple vision who run three labels, but I like to think Offworld is more unique and doesn’t release so often it becomes less about the music.

With the current resurgence in ‘vinyl chic’ happening on the high streets and Drum and Bass vinyl facing a tough time of late with distribution issues, have you noticed any change in the popularity of vinyl and is there much demand for it in today’s Drum and Bass music?

I’m sure you’ve read of a ‘resurgence’ in vinyl online, but this is more to do with band music and is not equating to Drum and Bass. Many distros have gone down, record stores have closed up, prices have gone up for limited runs and postage has put many djs off buying them in the first place.
I’m sure bigger labels will continue with smaller runs, but I’m not certain about smaller indies.  I’ve considered vinyl releases many times over the years for Offworld and despite people asking for it, you have to consider the type of music I release. The typical way to start vinyl was to get a well known artist to front the A side and get away with something else on the B.
I wouldn’t for one thing, pay a fortune for a ‘well known’ artist to release on vinyl if I didn’t even like the music. If I did, it would be Drum and Bass music I love, quite possibly from an unknown artist. It’s all about the music for me.
It’s well known you’re lucky to make costs back on vinyl runs, my fear is to be left with a big amount unsold with the type of music I release. Look at Glr, they shut up shop recently. I might do a special one off in the future to test the waters. I used to be a vinyl junkie back in the days. I played in clubs and would forgo eating to get that latest record but times have changed. You have Traktor and Serato which allow you to play vinyl without the massive expense. The one thing that pisses me off, is not being able to buy MP3s of a tune if it’s a vinyl only release. There’s many tunes I would buy from the past if it was a good quality WAV.
The more worrying thing these days is people understandably are moving to streaming rather than buying music and the cut is much less than actual digital sales. Artists get little enough money without this new model. Since I’m paying for mastering now, I may have to run the label at a loss to pay artists and keep it going. Offworld is my baby though so I will keep on.

When can we expect the full artwork boxed made from bare recycled card five plate 12” LP from LM1?

Haha, you know I was thinking, It’s about time for LP number 2 for me. I’ve been writing sporadically the past year. I had three vinyl releases this year which was great and a few EPs are getting attention. I have a bunch of collabs on the go and five tracks already done, so i’m hoping to gather more than enough for an album and pick the best ones. Again it will be Drum and Bass focused, with no minimal DnB.
It’s a shame ‘minimal’ has dropped out of focus in Drum and Bass, I loved the sound, but it was more a listening music than club material. I wish more Drum and Bass producers didn’t go off tangent with albums ie vocalists and different genres as this often doesn’t work in a style you know them for.

Do you have any upcoming releases or tour dates, club nights?

The last Offworld night in Redditch with Sublime DnB (Scenic & Advisory) was a blast, there’s going to be another hopefully in summer 2015. I’m making enquiries into starting an Offworld night in Edinburgh so fingers crossed! I also need to get a new passport lol I’ve had to turn down some gigs for this reason. Thanks for the interview Andy, peace!








The Human League – Glasgow Royal Concert Hall – 3rd December 2014 –


The Human League were formed in Sheffield in 1977, but it was in the early 1980s that they achieved international success with a number of global hit singles and the classic album “Dare”. Since then they have continued to record for various labels building up an extremely impressive back catalogue and have toured regularly. The 3rd of December saw the legendary electronic outfit return to Scotland to play the Glasgow Royal Concert Hall as part of their current UK tour.

The set consisted mainly of songs from the iconic “Dare” album and the classic hit singles. The hits including the opener “Mirror Man”, “Love Action” and “Fascination” still sounding as vibrant and exciting as the first time I heard them on the radio or on Top Of The Pops. The material from “Hysteria” also faired equally as well and the rousing version of “Lebanon” and the wistful “Life On Your Own” still managed to give me goosebumps after all these years.

It was a pleasure to hear some of the lesser well known songs included in the live set. However I personally don’t feel that either “Sky” or “Egomaniac” were particularly the strongest material of the outstanding recent album “Credo”. I would have also enjoyed to hear more songs of “Romantic?” and “Octopus” included in the live set instead of just the first major hit single from both albums. However The Human League know what their fans want and thrilled an ecstatic audience with a crowd pleasing set.

Phil Oakey remains one of the most charismatic and underrated frontmen of his or any generation. His striking stage presence immediately engaging the crowd, his warmth and humour providing a contrast to the electronic soundscape of the music. Susan Ann Sulley and Joanne Catherall remain as stunning and charming as ever. They continue to provide that special magic that makes The Human League such a unique pop phenomenon.

The highlight of the night for me was still “Don’t You Want Me”, which remains one of the pinnacles of pop music. Witnessing the ecstatic response of the crowd to this pop classic was spine tingling and a memory I will treasure. As always The Human League remain a truly remarkable part of British music and I can’t recommend catching them live highly enough.


The Greatest Hits

Oh My Lorde – Concert – Music – Review – Kira

Pure Heroine
Lorde is the voice for teenagers, my first proper musical obsession and love. She’s one of not very many in the industry who has both an amazing image and great music. Unlike Lana Del Rey or Selena  Gomez who write songs with messages like ‘I’m nothing without my boyfriend!’, her messages are more relatable. For example ‘You’re my best friend and we’re dancing in this world alone, world alone, we’re alone.’  She is a much better influence/role model for young girls like me (I’ve just turned 13 btw).
When she performs, she uses her long, curly fifth limb (her hair) to dance. Her dance is a mixture of bending down double, flicking and swooping her fifth limb, jerking her shoulders and shuffling feet. Most of my friends make fun of her for this and I do admit the first time you see it, it looks very different and weird. But I think it’s original. I believe that everybody has an animal inside that just wants to go crazy when they hear music, however society has taught us to conceal and to tame it. Teens are judged on the way they dance and there is only one ‘cool’ way to. This is just another way Lorde is making her point, her mark.
Pure Heroine is a work of art.
Tennis Court is the first track, starting with the lyric ‘Don’t you think that it’s boring how people talk? Making smart with the words again, well I’m bored.’ From the very first beat, Lorde is showing her rebellious side. She isn’t scared to share her opinion, in fact she’s known for dissing many celebrities. Her music is political, made to prove a point, which again artists these days seem to shy away from.
400 Lux is a track with beautifully constructed lyrics. Beginning with a continuous violin note, the song builds up slowly and creates a comforting feel. What I love about it is the atmosphere it creates, the sense of someone wrapping their arms around you and hugging you tight. Ribs has a similar feel, but also adding elements of naivety and fear writing about how scary it feels getting old. Every teenager gets to a point where they hit their GCSEs and everything suddenly feels ‘real‘. That moment when your whole life is determined from one set of test results… I haven’t experienced it, yet it still scares me.
The rest of the album is a variety of electronic beats, relatable lyrics and Lorde’s fierce, wise opinions. And then there’s the live experience. I was lucky enough to get tickets to her London show. My Mum sneaked me into the moshpit (which was heavily guarded as underaged kids have to stay at the boring balcony), and we wrestled our way to the front. She was halfway through singing ‘White Teeth Teens’ when I burst into tears. I wouldn’t describe myself as a hysterical ‘fangirl’, in fact I’m quite the opposite. But the sheer realisation that she was an actual real live person and we were sharing that moment together hit me. I didn’t stop crying until the finale song, ‘Team’ with the all encompassing lyric “and you know, we’re on each others Team.”
I’ll always be Team Lorde.
Lorde – Yellow Flicker Beat (Hunger Games)
Love Club (Ep)