Dekleyn thrive in new cool and catchy EP

Their third extended play in three years, Western Sydney electro-pop duo Dekleyn’s new effort ‘Thrive’ sees an outfit more confident than ever.

The duo first began to turn heads in April 2018 with the catchy single ‘Ghost’, followed by an exciting sophomore EP ‘Unsaid’.

Followed by appearances at Real Festival, the duo kicked off 2019 with another single ‘Like This’. While the single was positively received, critics noted the more upfront nature of the production, suggested the duo were beginning to head in a more dance-driven direction.

This EP finds the duo in a new artistic mindset as they explore new sounds and ideas. Percussion is much more upfront part of the record; however the synth-heavy ambient soundscapes are still very much front-and-centre. The EP is full of colour, personality and moments that will get you moving; but it is also relaxed, cool and catchy.

The feeling is set from the get-go on intro cut, ‘Weather’, starting with synths and gentle percussion. A genius production move is to have their breathing as part of the percussion soundscape, which gives the song personality. 

‘Cars’ picks up the energy of the EP, continuing the percussion of the opener and adding quiet bass and vocals before exploding into a gorgeous chorus, with light guitar hanging in the background along with stunning, distorted backing vocals. 

The single ‘Like This’ has a lyrical element that feels almost Gotye-inspired. It’s added on by mature lyrics about a relationship that isn’t providing or meeting the needs of the male partner. The song is complemented by punchy electro-keys, however the instrumental is the highlight, with lyrical samples being thrown into the mix to give the crescendo a weightier, but more dance-heavy feel. 

‘Outside’ is a much more low-key song, but with fast moving percussion and synths hanging mutely in the background. The chorus is filled with droning vocal croons, and once the track’s percussion comes front and centre, the song turns colourfully stunning. 

The closer, ‘Lost My Mind’ brings the album to a solid close, with clapping continuing the dance element of the record. However, the warped synths give the track a warped, cacophonic feel, and as the drums build near the end with the guitar it gives the song a climatic, abrupt finish to the EP. 

Amongst these danceable, but ambient soundscapes, Dekleyn have provided compelling songs. ‘Thrive’ more than lives up to the title, as it sees the duo looking more artistically confident than ever. With a debut album reportedly in the works, the sky's the limit for this exciting project.

JVLY and DRKTMS bring their A-Game on ‘me&her’

JVLY has been turning heads over the last few years for his unique approach to sample-based electronics music, however if his new track ‘me&her’ is anything to go by, he might be about to embark on something much more ambitious.

The Aussie artist and producer has been teasing up to the release of his second EP for some time now, following the release of their first single ‘tacenda’ earlier this year.

However, this follow up effort ‘me&her’, which sees JVLY team up with Swiss producer DRKTMS, sees him heading in a more analogue style. And it’s a style that certainly suits the young artist, given his clear talents for creating unique production sounds.

Opening with distorted synth wubs and sample vocal snippets, a smooth kick drum soon introduces itself, followed by JVLY’s deadpan vocals, which glide over the proceedings. The production is smooth, but unlike many of his contemporaries (who often utilise digital recording in their music), the crackling, analogue production gives the track so much character. Add to that, the addition of metal drums in the background are a really nice touch.

Lyrically, JVLY is observing the motives of a potential romantic interest, watching their every move in their game of flirting. In the second verse, he’s get lost in her eyes as they both let their guard down. The imagery he presents really compliments the production style, and is enhanced by female sample vocals that pop up in the song’s second half.

Eventually, the track eventually coasts out on the repeating mantra of ‘I know that you want to’, with the vocal snippets coming front and centre to bring the song to a close.

This is a gorgeous track, filled with character and a sensual atmosphere. JVLY and DRKTMS deliver a tune that crackles with personality, but the ambitious musical statement they make with this piece is what is most impressive. Consider me excited for what this second EP will bring.

Third Floor delivers majestic electro-dance treat ‘12 Months’

Aussie electro-dance artist Third Floor is back!

Following on from dropping two acclaimed releases late last year , ‘Our Song’ (featuring Kamaliza) and ‘Lying Eyes’ (featuring Ryan Konline), the young producer has now returned to wow fans once again with a majestic new electro-beat, ‘12 Months.’

This track is an interesting change of pace for Third Floor, and seems destined to be danced to, for all the right reasons. This track is an absolute jam, and fans of artists such as Mr. Probz will find a lot to appreciate.
Opening with gorgeous and distorted rhythmic guitar, the track wastes no time hitting us with a smooth catchy beat and bass line, giving the proceedings a real sense of funky swagger to them. This track quickly turns into an ear worm, with the production bringing everything together beautifully.

Lyrically, the song depicts an emotional and personal tale of a relationship ending, and the mental and physical toll that it leaves on you. Third Floor makes sure the song stays fresh as it goes along, bringing in nice moments of a cappella in the pre-chorus and instrumental, and the punchy synths during the final crescendo of the track are a really nice touch.

If you are looking for a smooth, ear wormy dance track, this is the song for you. Third Floor has delivered the goods once again, and is sure to be on his way to carving out a serious niche for himself within Australia’s electro-dance scene.

Laurel Laxxes and Gavin Beach get exotically experimental on ‘Somewhere New’

Music can take you to some amazing places, and this is certainly been the case for homegrown indie producer, Laurel Laxxes.

While travelling in the UK, Laxxes fell in love with the Welsh highlands around Cardiff, and that fascination developed into his experimental cut, ‘Somewhere New.’ Featuring the soulful vocals of UK artist Gavin Beach, Laxxes delivers a track that seemingly blends multiple sounds that seemingly would clash on paper, yet like the landscapes he was inspired by, blend seamlessly together into something exotically beautiful.

Opening with gorgeous brass and a cappella backing vocals, electronics soon introduce themselves in the form of a simple, subtle kick drum. Beach croons with lyrics about being in an existential crisis, with a hidden restraint in his delivery showing a need to move on from a challenging time, finishing with a desire to leave this place of crisis and find somewhere new.

However, the highlight of this track is the low key percussion, that keeps things smooth and simple. However, the sounds that Laxxes creates with this percussion, whether it be metallic drums, the chinking of bottles, samples or metallic strings, make the song crackle with life and personality, almost stealing the show.

‘Somewhere New’ feels like pure, experimental fun, and is a delight in both it’s themes, songwriting craftsmanship and execution. If this track is anything to go by, the sky could be the limit for this exceptionally talented artist.

Decapitators take us on an unsettling journey with debut single ‘Crystal Math’

‘Crystal Math’ is a trippy, chilling tune that comes at you in waves, seeming simplistic on its surface but is increasingly rewarding on every listen.  

The band have spent the last few years meticulously fine-tuning and crafting tunes, and it shows. Decapitators have a real tight grip on rock fundamentals, yet at the same time, possess a real knack to set a thought-provoking atmosphere.

Launching with sour guitars and a tight rhythmic section, the band sets an ominous feeling with lyrics about bringing a “needle to a knife fight, drowning in the limelight”.

This is brilliantly contrasted with a great use of dynamics, with breathing chants in the instrumentals providing a nice touch, and quiet verses making way for walls of shrill guitars in the choruses. At the songs climax, the percussion and vocals dissolve away, allowing the bass and guitar to take centre stage alongside some vocal snippets, giving a legitimately beautiful, dark sense of harmony.

This is a boundary pushing, undeniably catchy and captivating debut, and something that fans of prog-rock bands like Karnivool and Daughters would really appreciate.

With Decapitators, it’s all about the fundamentals, and through that, they have produced a scintillating and spine-tingling debut.

Their music video for ‘Crystal Math’ is out now, and the band will soon announce a few select tour dates. Give the track a listen now.

Yorke brings the feels on new piano ballad ‘Thought I Could’

She’s back again! 2019 has been an exciting year for Byron Bay singer-songwriter Yorke. Hot on the heels of her first single of this year, ‘Wake The City’ (which was handpicked to appear on TV show 9-1-1), Yorke has been supporting the likes of Ruel on their national tour, as well as getting ready to support Jack Gray on his East-Coast Australian tour.

This busy time has clearly rubbed off on the young musician. The indie-pop release coincides with the announcement of Yorke’s first headlining shows in August this year, which will see her perform in Sydney and Melbourne.

This piano ballad is still very much within Yorke’s wheelhouse, however it represents a significant step forward in terms of production and songwriting. However, the biggest change looks to have come from Yorke herself, who looks to have really come into her own with her vocal performance, not to mention with the great story she tells.

The track begins with foreboding, emotional pianos. The artist sings about tying up loose ends, having her suitcase back and being filled with regrets, yet she also is questioning herself about whether she should even go or not.

This dichotomy in the story she’s telling also comes through musically, with heavier bass and percussion introducing themselves in the pre-chorus; before the chorus explodes with synths, explosive drums that are front and centre. Yorke eventually admits that her mind is already far away, bringing an element of drama to the final chorus.

This is a beautiful track, plain and simple. But even better is Yorke herself. Despite the anxiety displayed on the song, this track brims with a confident delivery from an incredibly talented artist who looks to be coming into her own. I see this song going places, and given the talent that Yorke has, it certainly will.

The Paddy Cakes bring authentic charm on new banger ‘Wasted On Me’

Melbourne indie rock band The Paddy Cakes have been gaining fans rapidly over the course of 2019, and it isn’t hard to see why.

The Gippsland rock outfit has been having a red-hot year so far, being currently in the middle of a successful tour after dropping an outstanding EP Broken At Best two months ago, a release that earnt them comparisons to rock giants Arctic Monkeys and The Strokes.

Now, ahead of their upcoming shows in Sydney and Wollongong, they’ve dropped a new banger, ‘Wasted On Me’.

Working with Dylan Adams (of DMA’s, Skeggs and West Thebarton fame), The Paddy Cakes have come through with a track that gives them a larger sense of swagger; the production work done here giving them a lot more body compared to their previous EP.

Simple guitar chords set the stage for the track from the get-go, as the song gets started with simple, effective drums and warm bass. However, as lead singer Dalton Tripodi starts to sing about being stuck in a difficult situation, the guitars become smothered in reverb and distortion in the pre-chorus.

Finally, when that earworm chorus hits, it hits hard. The production becomes fuzzy and heavy, matching the optimistic lyrics as Tripodi admits that despite the situation, he should try his best to get out of it.

Then, a gorgeous guitar solo takes centre stage over fuzzy bass and drums to fill out the track.

‘Wasted On Me’ seems like the next perfect transition for The Paddy Cakes. The confidence the band exhibits suggest their biggest successes are still yet to come. Watch this space.

Electro-funk outfit daste bring their A-game on new EP, Palette

Palette has been a long time coming for electro-funk trio daste.

After teasing fans with several tracks over the last few months, the group has finally released their eclectic debut EP ahead of their upcoming June tour, which will see them trek down Australia’s east coast, performing in Brisbane, the Gold Coast, Byron Bay and Sydney.

And it is clear, after listening to this record, that the songs had been worked on for a very long time. Each of the five tracks brings its own style, yet as a whole product the EP feels like a full experience: a clear electro lo-fi style, and tracks slipping silently into one another.

The stage is set early with opener ‘Myself’, that introduces breezy synths and bassline; instrumentation that permeates across the entire record. Lyrically, the song tells a story of a protagonist who wants to be free, be themselves, and leave a relationship. ‘Thinkin’ Of’ keeps that easy-going feel, bringing the trio’s outstanding production to the forefront; with glitches and distortions making the track feel warped and intoxicated, as though we are inside the protagonist’s head. 

‘SOBER’, by comparison, picks up the tempo and presents something more within the band’s wheelhouse, with funky bass and upbeat percussion; yet, it also still keeps the warped feeling from the previous track, something that fans of acts like Running Touch would appreciate.

Penultimate track ‘Overload’ brings that warped feeling back front and centre, matching the lyrics about losing control from spending too much time burning at the candle at both ends. The breezy synths give a merry-go-round feeling to the proceedings.

However, the undeniable highlight is the closing title track: a low-key, sensual, in-a-little-spotlight piano ballad. The addition of glamourous horns is fantastic, filling out the track with a sense of mystical, romantic grandness. Add to the positive lyrics that ‘the music is yours to keep,’ and you have something irresistible, down to its sublime jazzy outro and stiff percussion that, on paper, seems like it wouldn’t work with the live, glamorous instrumentation, yet it does.

Palette is intricate, detailed and captivating, yet it only feels like it scratches the surface of this talented trio of musicians. daste are a group going places, and those places look excitingly bright. A must listen.

Velvet Bloom brings smooth style onto latest soul ballad ‘Teach Ya’

When it comes back to laidback music, few can claim to be as laidback as jazz soul-pop outfit Velvet Bloom.

Fresh off a debut EP release earlier this year, this Melbourne-based musical project has been turning heads for its catchy take on jazz and ambient music; a sound that has caught on with listeners on Triple J and Triple J unearthed.

With a new tour set to begin in June (playing shows in Sydney, Byron Bay, Brisbane, Port Macquarie and Forster), Velvet Bloom has coincided the beginning of this tour with the release of their latest gem, ‘Teach Ya.’

From the get-go, the track welcomes you in with a very easy-going style, meandering guitars and gentle percussion. The track comes across with a relaxed feeling, but a soulful swagger mixed with pop sensibilities. This is a tune that is going at it’s own pace, and won’t be rushed. The bass here is subtle, but underrated, and serves as a gorgeous counterpoint to lead vocalist Maddy Herbert’s tender vocals.

These vocals however are what really wins you over though, as Herbert sings about being fair to yourself, and to focus on trying to not get worked up over trivial things. The lyrical themes match delightfully with the easy-going musical approach the song takes. Her performance is tender and considered, especially when she introduces extraordinary harmonies in the verses and in the outro.

If there is a way to describe this song, it would be bubblegum soul. It’s smooth textures and jazzy finish immediately allows the listener to relax and be put at ease. If Velvet Bloom set out to achieve a gorgeous sense of tranquillity, they more than achieved it with this track: a sublime example of musical craftsmanship, and a damn smooth tune to boot!

Jamie Lane gets sensual and atmospheric on new R&B banger, 'Desire'

Jamie Lane is back! Hot on the heels of his eclectic single he dropped last month ‘Say It Again’, the enigmatic Queensland artist has returned with a new R&B banger, ‘Desire.’

Lane has been carving out a name for himself in the underground over the last year, achieving some crossover success with the song ‘Sink.’ However, 2019 has shown the forward-thinking R&B artist is looking ahead to bigger and better things.

Known for his experimental approach to hip hop, Lane keeps that eccentric style that made ‘Say It Again’ so interesting, but at the same time, has brought a real sense of smooth catchiness to this track. This is a low-key, nocturnal effort, filled with bass, reverb and atmosphere.

On the surface, this is a very sensual track, with heavy, bassy verses contrasting nicely with shrill instrumental choruses, with punchy synths introducing themselves into the mix to compliment Lane’s unique singing style. Flying solo on this effort, Lane is able to take centre stage a bit more and it is needed; his performance here is a much more emotionally driven one than his previous efforts, which is a welcome change of pace.

However, the lyrics detail a much more sombre story, as Lane details how he is fighting in a romantic relationship, almost to the point where he’s barely able to feel good about being in love, restoring the fire in the relationship, and attaining the eponymous desire he so desperately craves.

A sign of a great artist is when they are able to push forward and create experimental music that not only pushes boundaries, but also appeals to people. For Lane, this track signals a confident step in the right direction. More, please!

Sean Frazer tugs at your heartstrings in new album ‘The Morning Hours’

Originally from Sydney, Frazer has been active within the music scene since releasing his debut record in 2014 and has spent most of his time since then performing with the likes of Jimmy Barnes, Daryl Braithwaite, Jebediah and Sheppard.

During this time, Frazer embarked on a tour across America, and it’s easy to see that the Land of the Free left an impression on him. Teaming up with producer Tim Carr (Matt Corby/Jay-Z) to create this record, Frazer delivers the listener a heartfelt collection of vignettes; telling stories of moving forward in life, friendship and the struggles of growing up.

Gently pulling you in from track one, this record is disarmingly charming and warm, a pick-me-up for those times in your life when you feel like your soul is being crushed. Despite his young age, Frazer conveys a kindness and maturity in his music that is undeniably heartfelt and makes you as a listener open up to his touching stories. This is reflected in the folk-rock style of this record, with sincere guitars leading many of the songs and adding a gorgeous country feel to the proceedings.

‘Missing the 1.45’ is an early highlight, bringing out the best of Frazer’s songwriting with a catchy chorus. The vocals are filled with warmth and mirth, as though Frazer is reminiscing joyfully about a night out with his friends. Songs like ‘Old Love’ and ‘Bricks & Mortar’ are similarly touching, with gorgeous, wholehearted production that is reminiscent of Bernard Fanning.

‘Talk’ however is a real highlight, bringing that country element to the forefront. The lyrics see Frazer reaching out to someone and looking to mend fences, which is refreshingly mature subject matter. This is also echoed on the guitar ballad ‘You Know I’, where Frazer croons about the passing of time, yet still will support the friend he’s singing about, no matter what.

By the time the record comes to its conclusion, it feels like we’ve been on an epic adventure filled with highs, lows, and redemption, much like the adventure Frazer has been on throughout these last few years. The most impressive element is at the core of these great guitar-driven tunes, the emotions expressed are strong, impactful and genuine.
This is an absolute delight of a record. If The Morning Hours is anything to go by, Sean Frazer looks set to join the likes of Alex Lloyd, Paul Kelly and Kasey Chambers as one of our country’s most heartfelt singer-songwriters. Make sure to give it a listen below.

Carrington utilise hard hitting punk-rock while touching on loss and frustration in new EP 'Alter Ego'

Within the exciting music scene of Western Australia, punk rock outfit Carrington have already carved out a niche for themselves, becoming known for their hard hitting no frills approach of music.

The group has had an exciting 2019 so far, with the first single they dropped this year, ‘44 Days’ going on to feature triple j's radio show Short. Fast. Loud. However, this hard hitting track was just the tip of the iceberg, judging by their new EP Alter Ego.

If you love punk rock, this four track EP is a must listen. Through wearing their key inspirations like old-school Trash Boat and Boston Manor on their sleeve, Carrington have created a simple, to-the-point record; one that revels in the hard hitting nature of punk rock while also hitting you with themes of loss, frustration, and dying relationships. You know what you’re going to get, and this EP gives it to you in brilliant fashion, and then some more.

‘44 Days’ delivers pure fundamentals, kicking off the record in spectacular fashion. However, the track gets even more stunning when some legitimately gorgeous guitar chords introduce themselves into the song to compliment the harder hitting vocals and percussion.

‘Interesting Places’ is undoubtedly the highlight of the record, beginning with noodling guitar chords and peaks and valleys in its early stages, but as the song gets more emotionally impactful with it’s coming-of-age lyrics, the instrumentation revs up and hits the listener with a haunting climax.

‘Neon’ is the hardest hitting track on the album, detailing the end of a relationship and a blood-curdling performance from lead vocalist  Emmett Carroll, while the closer ‘Serration’ maintains the energy pulsing guitar and hard hitting drums to bring the EP to out with a bang.

EPs are all about giving people a taster, and in this case, Carrington have absolutely nailed their first impression. You looking for the next big thing in punk rock? Look right here.

Oh Boy tells story of a soul entangled in societal expectation in new EP 'Brentwood Heights'

Oh boy, we’ve got something special for you here!

Since breaking onto the scene last year, music producer Oh Boy has been increasingly turning heads with his eclectic, forward thinking approach to musical production. Singled out for praise from the likes of Alison Wonderland, it’s that musical talent that has seen him collaborate with fellow freshers Cub Sport, Golden Vessel, BLESSED and Mallrat.

With that talent in tow, Oh Boy is starting 2019 with an ambitious statement in his new EP, Brentwood Heights.  Recorded in Sydney, Hawaii, and in the eponymous suburb in Los Angeles, the EP tells a story and journey of a conscious soul, entangled in modern societal expectation.

Opening to the sounds of a car starting, the buzzing of radio dials and indicators clicking, the EP then launches into Angels 888 (feat. Cub Sport), a breezy, angelic cut filled with sugary synthesisers that accompany front man Tim Nelson’s choirboy vocals pleasingly.

This track really highlights Oh Boy’s musicianship and attention to detail around creating soundscapes; music that is painstakingly tailored to match with the specific person he is collaborating with, and this is a theme that continues onto the following track, By the Wa7777 (feat. LOVER).  However, while these early tracks are easy-going and beautiful, the EP really dazzles with its two more ambitious cuts to close out the record.

Slid333 (feat. Cult Shotta) introduces a more commercial sound, yet maintains a gorgeous sense of harmony with horns to accompany keyboards and a simple kickdrum. This match with Shotta seems like one made in heaven, the lyrics giving the track a strong element of eccentricity.

Talk to M333 (feat. Oordaya & LOVER) closes the EP out, and the only word to describe this song is: damn! LOVER and Oordaya sound sublime, pleading in harmony for a romantic connection. Combined with a funk-laden bass and kick drum, as well as an addition of saxophone, this is arguably the EP’s most ambitious track.

This is a really enjoyable, genre-jumping collection of songs, and demonstrates Oh Boy’s ability to flex his music production muscles. A captivating EP not held together by a musical style, but by personality and sophisticated song writing. If you are prepared to follow where this EP will take you, you’ll find yourself on a wondrous journey filled with electronic magic.

Live Review - Jeremy Costa - Red Bar, Glebe

Red Bar in Glebe has been the setting for many a blossoming musical talent, and this was certainly the case for up-and-comer Jeremy Costa, who delighted a passionate crowd with a surprise pop-up performance on April 12th.  

The night got off to a gorgeous start with an outstanding warm-up act in Simon Kinny-Lewis, who set the scene for an intimate evening with a short but memorable set. A wizard on the strings, Kinny-Lewis looks to be a real talent to watch, possessing a beautiful command of melody and outstanding technical ability.

Costa followed soon after, starting off his set with an acoustic performance of two of his most prominent songs, ‘In The Mess’ and ‘Come Along,’ which kept a beautiful sense of intimacy to the building crowd. Things clicked up a gear when he brought on his band to deliver his retro rock style, with ‘Break It Down’ and ‘Love is All I Have’ getting some of the crowd up on their feet.  

Costa clearly was in his element, often engaging in banter with the crowd and relishing in the enjoyment of live performance. Such was the case when he delivered his new single ‘No More’ and fan-favourite ‘Broken’ to close out the set, which brought a delightful end to the proceedings.

In truth, despite already playing at venues like the Sydney Opera House and the Enmore Theatre, Costa still looks to always be improving as a live performer, no matter the crowd. Considering 2019 is slated to be a big year for the singer-songwriter, all I can say is, bring on more shows like this!

Jamie Lane Expertly Blends R&B And Electro On Effortlessly Cool New Track 'Say It Again' (ft. Naji)

R&B is a genre that has become something of the zeitgeist of this decade, surfacing across many other genres and trends. Nowhere is this more the case than with it’s blend with electronic music. With that comes a risk of over-saturation, which means it often takes something unique to stand out in the R&B crowd.

Enter, Jamie Lane. Recently turning heads with his first single, ‘Sink’, the Queensland artist has brought an eclectic style when it comes to crafting electronic R&B. The guy has a fantastic command of production, with this first single serving as a daring example of his sampling talents, as well as a unique, quivering vocal style.

Now, Lane has heads turning again with his latest effort, ‘Say It Again’ feat. Naji. While this follow up isn’t as experimental or as sample focussed as ‘Sink’, it makes up for it by being an effortlessly cool piece of music.

The track starts with a crisp beat, with some piano keys at the beginning adding a lot of colour. The production choices are consistently fire, with the choice of drones and nice, sparkling keyboards at the song’s climax giving the song a nocturnal, sensual feel.

Lane’s vocals add a unique quality to the track, especially when he multitracks them in the chorus. However, Naji’s efforts in the second verse almost steal the show, with his more chilled-out style blending so nicely with the production and adding the crowning touch.

This is a really smooth, sensual piece of electronic R&B, and while not as experimental, confirms that Jamie Lane is a talent we should be keeping an eye on.

Georgia June Exude Undeniable Pop-Rock Charm On New Jam 'Prove Myself'

Sydney-based outfit Georgia June are back with a brand new single, ‘Prove Myself’, the first taster from their forthcoming debut record. 

The outfit had an exciting 2018, releasing indie rock jams ‘Cool’ and ‘Broke’, and hitting it big on triple j Unearthed. If you’ve heard these singles, then you’ll know why: with a sound reminiscent of Blondie and Pink, the secret to June and her band’s success is the straight-to-the-point nature of their tracks. While the lyrics often touch on June’s insecurities and struggles growing up, every song crackles with an undeniable pop-rock charm; sounding like the band had a blast recording it. 

Of all the tracks the group has dropped so far, ‘Prove Myself’ sees them at their most commercial, and wearing their influences most obviously on their sleeves. Starting with a tight bass and drum groove, eponymous singer June’s delivery quivers with a sense of anticipation as she sings about needing to motivate and prove to herself that she’s got what it takes.

The song really launches in the chorus, when sugary synthesisers and warm acoustic guitar introduce themselves, sounding like something Debbie Harry would ride with much pride. 

At first glance, this track is their most pop-influenced release, but the band pulls out all the stops at its climax, introducing a stunning rock guitar solo to balance out the pop elements and bring this song out with a bang.

This is the band’s most commercial sounding track, but it is no less charming. Gone is the feelings of insecurity: ‘Prove Myself’ sees June and her band sounding like a band wanting to take on the world, and win.