Today’s track of the day is the latest offering from London’s Honey Joy. ‘Part Two: The Healer’ is the lead single from their new album ‘Il’, which has just been announced as coming out 4th Sept on Everything Sucks Music.
Vocalist Meg Tinsley wrote half the songs on ‘Il’ whilst signed-off sick from work due to her mental health and the other half (including ‘Part Two: The Healer’) when she was out the other side and on a mission of self love. It’s “an exploration of the places your mind can go and a narrative of my experiences during those times,” she says.
Today we are delighted to bring you the exclusive premiere of Sheffield’s Potpourri‘s gorgeous new video for their latest release, ‘Dearly Departed’. Both the song and the video were created in lockdown, and the band say,
“Staying creative has really helped to remain upbeat and positive.”
The video was inspired by the lockdown distractions they have been using to keep themselves occupied: the Italian film Bicycle Theives and the work of Hitchcock. HC Gordon, a Dublin-based illustrator created some bespoke silk scarves for the band for the film!
Potpourri’s lead singer Lauren Dowling says the song was inspired by her jog around Burngreave Cemetary, in Pitsmoor. She says,
“This song is dedicated to anyone who has lost someone in this pandemic, or otherwise.”
Today’s video of the day is ‘Waste of Space’ by Moviestar – an instant bum-wiggler, this.
The track comes from new album The Curse and the Currency of the Twenty-First Century, out now, of which the band say:
“this is a concept album about the state of the world in 2020, seen from the perspective of the future. It addresses social media, the decline of human interaction, social distancing technology and environmental challenges.”
To quote their own press release: “Out 5 June, ‘Wonderwomen’ is the superpowered new single from London’s ‘mummycore’ feminist pop band I, Doris – delivering the message that ‘you don’t need to be a hero, you’re doing fine as you are, love’. A DIY comic book video accompanies the release, which sees the Dorisses donning superhero costumes to tackle everyday epic battles, like the school run, the office, and the supermarket.”
Crashing into being with the drums then a slapping bass (and what a bass line ) reminiscent of the Grange Hill theme tune, flange guitar, disco-like keytar, cool, sweet harmonies and multiple voices (for true democracy) we are immediately in our comfort and fun zone and possibly even ready for the dancefloor (which is itself a battlefield of sorts). The track thumps, bumps, sparkles, whizzes and fizzes. Alongside some of the greats like Jane Austen, Charles Dickens and more recently Phil Redmond (he, creator of Grange Hill and Brookside), I, Doris know the way to reach the most people is through popular culture.
Wonderwomen does just that – it is relatable, catchy and gloriously fun and full of DIY ethos as though we could all do this. In this way I, Doris hook the listener and embed their serious message. It does not get any more serious than this. I, Doris may not seem too heavy about themselves, happy to be a little self -mocking with ‘pants outside my tights..’ but do not be fooled. These women are super smart and know that just like charity, real revolutions start at home – as they say, on the school run and in the supermarket. Doris says of the song:
“Women are often praised for being multi-tasking superheroes – who needs that kind of pressure? This is a song about cutting yourself some slack. If you’ve managed to get the kids to school in one piece, and get through the day without thumping your boss, you’re doing fine.”
Women don’t need to change who they are or what they do to be more equal or of more value, Society needs to change how IT perceives and values them. The timing of the release could not be any more poignant. Through this pandemic we are experiencing a heightened reassessment of how Society values race, class, gender and the economy, as roles once looked down on as menial are currently valued as they should be – essential and important. Long may this last.
The song is on point as is the comic book style video that accompanies the track which could not be more fitting or more fun. A vignette of where Grange Hill meets the Marvel Comics the video features some of their best work to date – their own children. Our future is bright with these young people in it, growing up as they do with this kind of messaging as everyday to them as teeth brushing or breakfast cereal.
With this classic pop track it is clear that I, Doris are not just ‘Mummycore’; they are hardcore revolutionaries, boosting our confidence, prepping us for everyday battle and getting us ready to run a better world in less than 2.5mins. They are doing more than fine. They are Wonderwomen. If you can’t see that you’d better go to Barnard Castle.
Wonderwomen is out today on Bandcamp (fee free – whoop!) and you can find I, Doris on Facebook
Today’s track of the day takes a post-punk goth-synth turn from Ancient Channels‘ ‘Carpe Noctem’, out today.
This is the first release from forthcoming debut LP ‘Moments In Ruin’ by Brisbane’s Ancient Channels. FFO Juju-era Siouxsie & The Banshees. The band say:
‘Carpe Noctem’ is a tribute to the night and a lyrical celebration of the ambient darkness in our lives. A time when our hopes, wants and deepest fantasies coalesce in our subconscious and dance about in our dreams.
Let’s start the week with a banger. BruiseCruise are a fresh young punk hope from Cornwall, and this first release is their themetune – all the best bands have a themetune! Fronted by the very awesome guitarist Matilda Harding, put Bruise Cruise top of your lists of bands to see once we’re allowed to go play in Cornwall again.
Thank you for watching Balcony. Please consider making a donation to The Music Venue Trust’s #saveourvenues campaign by clicking here.Find out more about the campaign and the excellent work that they are doing to keep more than 550 independent venues afloat during the lockdown on their website. Approximate Stage Times:
Out today, Madame So releases ‘Generation Y’ – a dark and intense reflection on how millennials’ youth culture (and those prior to them) have been perceived by older generations and how this cycle of judgement is snowballing into the next generations to come.