Lonely Gimmick Releases “Roll Me Over”
"Roll Me Over" is the final single by "Lonely Gimmick" before the release of their first album/E.P "Stay At Home to Sleep In" at the beginning of next year.
Centred on the same girl as an earlier single (“Grumpy Days”) "Roll Me Over" reflects on the relationship’s aftermath. LG bares their soul right away, describing the beginning of the end with their opening lines. They place the blame completely on themselves whilst trying to soothe by saying "everything will be alright", "the night sky is full of stars". Despite the hurt inside LG, their sole concern is to not cause further pain to themselves or anyone.
This is the first track by Lonely Gimmick to start with vocals only: a bold move.
Lonely Gimmick is the alter ego of Max Pow, an anonymous multi-instrumentalist musical artist, although both these names are pseudonyms to hide the artist's real identity. Lonely Gimmick blends diverse genres from Hip-Hop to Techno, Lofi to Indie into a unique sound scape. Their work is self- recorded and produced, with the vast majority of the instruments featured on each track played by the artist. LG has been building up a following online since 2020 releasing singles such as "Blue Ticked Influencer" and "Grumpy Days". All the while winning praise from online music press outlets such as American Pancake, Iggy Magazine and featuring on BBC introducing.
Mr. Thank You Releases “Project Graham”
Bonding over a shared love of the obscure, and a mutual desire to make dynamic, multi- dimensional genre-hopping music, Mr Thank You formed in 2020, before spending the next two years honing their craft and perfecting their idiosyncratic sounds until they were ready to unleash themselves on the unsuspecting music scene of their native Manchester in the January of 2022.
Indeed, latest single ‘Project Graham’ is no different either, five minutes of suitably swimmy and psychedelic experimental alt-rock, the band describe it as being “inspired by a sculpture of the same name (also known as Meet Graham), which depicts what the human body might look like if it had evolved to withstand the impact of a car crash. The song is sung from Graham's perspective, and he considers himself to be a strong, superior being”.
A fitting narrative from a band who aren’t afraid to shy away from the weirdest aspects of life, ‘Project Graham’ is a collaboration in the truest sense of the word. “Each member of the band threw ideas into the mix as it was being written,” the band explain, “ the resulting track is a song that takes a number of sudden left turns as the listener descends further into Graham's ego.”
Five minutes of the wonderfully weird and the charmingly irresistible, ‘Project Graham’ is the second taste of a band both beguiling and batshit crazy.
MammaBear On the Making Of “Fever Dream”
What was the creative process like for this particular "Fever Dream?"
I wrote the chords and melody for “Fever Dream” a long time ago and rediscovered the idea by chance, tinkered with it some more, and basically came up with a different song! I was torn between which I liked better so I combined the two- the verse represents the old idea and the chorus the new, same chords, and different melodies. When I toured England last year I played acoustic solo shows as I still didn’t have a band after Covid and I had planned to record my solo set at Abbey Road as a testament to my solo shows during 2022, something like capping off the year and honoring what I had done while planning my next moves. The days we had booked at ARS were at the end of our tour and I had blown out my voice the night before at a party, leaving me unable to record my solo songs in one take as I had panned. I dusted off two songs I was working on and tracked them instead of my solo set-one of them being Fever Dream. I actually didn’t have the final arrangement for the Fever Dream and was sitting in the hallway at ARS writing the middle section and trying to tie it all together literally moments before my session began.
Were there any memorable or standout moments during the recording sessions for "Fever Dream?"
It was a lot of fun to walk into Abbey Road Studios past the famous white gate and the gathered crowds and be ushered into one of the most iconic studios of all time. As for the song itself, I tracked “Fever Dream” a bit differently than I track most songs in a studio. I started with the bass guitar to a click and laid down the arrangement before tracking and doubling the rhythm guitar through a fender twin and a third guitar on a marshal half stack. I recorded the drum on a Ludwig 5-piece set after I was finished with the guitars and then I tracked a very loose vocal take more as a guide for the future rather than the final take. I finished the vocals and extra sounds in Atlanta with my very good friend and mentor, Kristofer Sampson of Sampson Sound.
What do you like the best about this track?
I like the keyboard on the 2nd verse, it’s barely there but adds a spooky, or rather, a comically spooky sound.
Can you tell us a bit about yourself and how you got started in music?
I grew up in a family that loves music more feverishly than most others. My great-grandfather was A&R for RCA for decades helping the likes of Eddie Arnold, Perry Combo, Chet Atkins, Lorne Green, and Elvis Presley. If he believed in you, he worked hard to get you heard. From all accounts, he was a stand-up guy and is in the GA Music Hall of Fame. I never met him. My uncle was a DJ in college and adores music- he makes the coolest mix tapes out of his vast collection of records, they are unique and so much fun to listen to. His son, my cousin Kevin, works for Live Nation and attends more concerts than anyone I know, save for maybe our Uncle Keith who also adores music and turned us onto some of our favorite stuff when we were young. My mother raised me with music- mainly The Beatles. Music always hit me a bit differently than any other art form. I don’t recall when I decided to pursue music exactly, but I also don’t know a time in my life where a musical hook didn’t mean something to me or transport me to a higher place.
What do you enjoy most about performing live and connecting with your audience?
I love playing live- music hits different live and being on stage at the command of an audience is absolutely hypnotic and euphoric. I’ve never minded being on stage and I adore the attention, the more attention and participation the more I give, and vice versa. It’s on me to provide a moment worthy of people’s time and attention, that’s my job as an entertainer. As an artist, I only worry about pleasing myself. I find the live performance aspect to be the time where I can connect human to human, I don’t know who is listening to me online or through one of my records or CDs, so the live moment is for us. I cherish that.
snakesnakewhale. Releases “You'll Get That On These Big Jobs”
Can you briefly describe what the song/each song is about?
“You’ll Get That On These Big Jobs” is about dealing with the impermanence of life. All things change and all we can do is adapt, but this song acknowledges that it isn’t always the easiest thing to do. [Brought on by the death of loved ones, the lyrics flirt with the fear of wasting the time we’re given and realizing everything we know will someday fade.]
Is there a particular ethos behind the single/EP/album or any particular music styles or events that inspired it?
Our band is comprised of a bunch of 30-somethings writing the music we would have loved to listen to as we were growing up. Nostalgia plays a large part in our songwriting and our general feel.
Where was the single/EP/album recorded and who was involved in its production?
This single was recorded at Loc-Level Sound, in Asheville, NC. It was mixed by our good friend Tommy Burns.
How and where did you get together?
We've all played music in Asheville, NC, and got to know each other well. After years of playing shows together, we decided to join forces with our best friends from all different bands to create snakesnakewhale.
What are the band's main influences?
We love a wide variety of mid-west emo, nerdy rock, hard-hitting post-hardcore, and a touch of pop punk.
Atari Pilot On the Making Of “4X / 22”
What was the initial spark or idea that led to the creation of "4X / 22?"
It’s a cliche, but it’s just one of those songs that just fell into our lap , we just had to wait twenty odd years!
Onze ( Singer/songwriter ) is constantly working on songs at all stages and he was searching around for a song that was really punchy and direct and with some pounding drums in order to follow our previous singles , Train Of Life and I Took A Photo.
The main hook line “Forty something, going on 22, 22” just came out during a writing session and then with that line he had the idea to write to.
Onze loves writing songs that come from a real place, and this song is like a call to action to remind yourself that you can move beyond your age or your past or any failures or mistakes and really embrace life with the energy you had when you were younger.
The whole process from initial idea to finishing was really fast, we went with the gut feel rather than getting bogged down so it captures more of the raw spirit of the song.
Were there any memorable or standout moments during the recording sessions for "4X / 22?"
Straight away it felt like the melody and lyrics could really resonate with people, and then when we came with adding the synth solo and the massive tom rolls, we knew this song had found another level and was also going to fun to play live too!
Have you noticed any particular interpretations or connections that listeners have made with "4X / 22?"
People have mentioned how the energy of the music really meshes with the lyrics and the message behind the song, which is great.
Our music does seek to be a source of positive energy for people in their lives so whenever we hear that’ve we hit mark on that , it’s a good sign!
Could you share some of your musical influences and how they have shaped your sound?
We’ve had countless influences over the years but if we were to narrow things down then we’d say we try to combine the human experience style story telling of someone like Springsteen and mix it in with the driving type rhythms of ‘Random Access Memories’ era Daft Punk and finally combine that with the kind of inclusive singalong melodies that Oasis were so great at.
Who would you most like to collaborate with, if it could be anyone in the world?
Right now if you put on us the spot, we would love to collaborate with someone like Lana Del Rey or SZA, they both have such powerful and effortless vibes it would be really interesting to write and sing a song with someone like them to see how the styles mesh together.
Metrophobia “Crazy”
Metrophobia drops a sonic bomb with their latest single. “Crazy,” screaming out at breaking point with darkly alluring dark pop influence, tossed in the soundscapes of distorted guitar and exhilarating percussion. Fueled by the ultimate longing for explosion of pent-up anger after enduring the unbearable, “Crazy” is catharsis against frustration.
With lyrics that hit hard and melodies that get under your skin, Metrophobia represents the brand of authentic rock and pure creativity. As a song about the deeply unpleasant situations in life, “Crazy” is moodily charismatic. The Swiss alternative rock duo of Markus Gmur and Jose Garrido has a way with storytelling. Their music is the kind that you feel with your body and resonate with your heart.
And it all goes back to their unique formula of music cocktails —solid rock, hard-hitting edge in contrast with sweet and light melodies. And “Crazy” is just like that. Intimate lyrics unveil their heart and vulnerability. And that’s all they need to move the mountain—honesty, love and some kick ass soundscapes.
Things That Fly ‘Things That Fly’
Things That Fly captures your heart with chiming lyrical rhymes and nourishing, imaginative soundscapes, flashing nostalgic fuzzy 90s rock aesthetic. The captivating EP from the band Things That Fly is filled with charming songs. Free-spirited, spicy and noise-coiled melodic sensation in the company of clashing percussions and reverberant guitarscapes. Grit and creativity is being intricately woven together.
Things That Fly has a sort of distant and rainy feel that resembles the soundscapes drawn by PJ Harvey. It burns with pop and angst like Avril Lavigne and haunting grunge vibe as Nirvana. The pinch of melodic fierceness also reminds you something of Paramore’s. The album no doubts evokes many familiar feelings, as if ghosts joining up for a dance, but there’s also something new and refreshing happening there. Things That Fly isn’t like the rest of harsh and bleak rock n roll written by angry men who seek for the one thing they can’t get from a bullet to the head. The soundscapes in this album feels adventurous, vibrant and freeing. “Nothing in the Middle” rings in with bright colors in an emo-infused soundscapes. Something would never die. Something will always be alive. That’s the spirit of rock n roll and these ladies bring that young and tearful kind of spirit back.
“Crunch Went the Snow” dives into scenic immersion with unique melodies that paint a mood-filled sky. Drastic and intricate feelings are on a train of awakening. In crashing percussions and fleeting melodies, the song has an edge as well as a heart.
“Early River” surprises you with Green Day jumpy punk rhythm. The song immediately leaves a strong impression, drawing a parallel forestry folk aesthetic. “Don’t Count Me Out” returns to earthy acoustic rock ballad with a bend of indie. Rainy and moody, intimate and unapologetic. “Confidence” concludes the EP with a middle finger, announcing its uniqueness.
As a track that can be enveloped into any style or form, it keeps dancing its way from one idea to another. At one point, it bounces around with quirky chords. At another, it rumbles and flows, then it showers down in loud clangs, thunder and storm. Then the cinematic dance of vocal and piano kicks in, accompanied by a wooden backbeat.
Louis And The Shakes “sorry.x”
Louis and the Shakes return with dark majesty, smashing a grungier, heavier sensuous soundscapes in pair with pop sensibility—“Sorry.X” marks the first single released from their forthcoming EP, Everything That Glitters Isn’t Gold. Unlike anything you have heard before, this is the new era of Louis and the Shakes.
Diving deep into metal health issues such as anxiety and sobriety, “Sorry.X” finds Louis and the Shakes at their most unapologetic. With deeply vulnerable lyrics touching on heavy topics, exposing them to their vulnerability and brutal honesty, “Sorry.X” is nothing like what fans have previously heard from this band before. Unshakable darker tone, droning through punches and hard-hitting sonics, “Sorry.X” sheds light to the real struggles that many people experience but are afraid to talk about. And Everything That Glitters Isn’t Golden certainly doesn’t shy away from difficult discussions.
Sonically, “Sorry.X” is immersive and explosive as it can be. Its expressiveness gets under your skin, while in its dark and explosive sonics, one finds comfort and catharsis.
Third Lung ‘Dialogues Of The Fatal Few’
Third Lung is quite a marvelous band. They make the listening experience memorable and unforgettable.
Third Lung Immerse You With Dialogues Of The Fatal Few
Photo credit: Will Carter (Two Finger Media)
Third Lung is quite a marvelous band. They make the listening experience memorable and unforgettable. From a laptop speaker to a ten bucks ear bug, they immerse you with deep-reaching, meaningful music. As if being inside a vast, sonic sea filled with dreamful, vibrant imageries and shifting colors, their stadium-filling sound has a natural power to permeate and dissolve.
“I a Fire” and “Hold the Line” are both instant stadium fillers charged with timeless, poised melodies. The tracks have a more classic sounding feel to their overall aesthetic which makes them highly relatable and easy to vibe with. It’s nostalgic in a sense, but the scene is set for the present.
“The Art of Stealing” takes a break from their immersive, wide-spreading soundscapes and dives deep into the struggling heart and wrenching emotions. Light piano with occasional vocal harmonization highlights the lead singer’s touching road-worn vocal, while the struggles, torture, and pain echo in your ear and touch your heart.
“What is Life?” continues the introspective lyrical content, recalling light harmonies in the background with rhythm-driven soundscapes. “Climb” concludes the album with a feel of searching, deepening that symbolizes the lingering thoughts after a meaningful journey.
Written by Katrina Yang
Dango Rose ‘The Forgotten Years
The Forgotten Years is a trilogy project that documents the different chapters in Dango Rose’s transforming life as an artist, poet, musician, and writer.
Dango Rose’s ‘The Forgotten Years: Vol. II’ Tunes Into a Collaborative, Experimental Chapter of Life
Photo credit: Dog Daze Photos
The Forgotten Years is a trilogy project that documents the different chapters in Dango Rose’s transforming life as an artist, poet, musician, and writer. The second chapter, The Forgotten Years Vol. II dives deep into a more experimental phase along with the deepening and awakening of the mind, taking you on a meaningful ride across the unexpected soundscapes.
Rose’s music is more significant than the sound itself. His use of form and instrumentation is very subtly orchestrated. It naturally flows and glows, communicating deep emotions, spirituality, nature, introspection, and inspirations.
Weaving electronic and world elements into roots, folk, and pop influences, Rose navigates between those intricate shifts in atmosphere and dramatic emotional, textural contrasts effortlessly. “The Singularity” is so brilliantly mixed with all the different influences. It gives you a taste of everything while dives into the topic of self and the world.
Hypnotic and deeply grounded, the project is rooted in an intuitive and reflective approach that naturally appeals to listeners. Dango Rose has an earthy, percussive touch to strumming that gives his music a very unique sound, for example, “Snow” and “The Singularity.”
Although very cleverly hidden in the background, the vocal harmony starts to really become an irreplaceable factor in “Snow.” The interactive melodies and beautiful texture are no doubt a surprise. It reached momentum in “I Fall Away.” From the spoken words that demand your attention to the beautifully illuminating soundscapes, the album is a journey itself.
Written by Katrina Yang
Aura Davis Portrays “Bad Girl” in “What You Love”
Revolving around the fictional character, “What You Love” tuned into the dark, dangerous side while remaining the initial touch of a campfire feel to enrich the storytelling.
Photo credit: Karin Merz
Unfortunately, sometimes the version of who you are in other people’s discussion could derive far from your true personality. Gossips can be hostile in painting a person “the bitch,” while in reality, she might be the sweetest person you knew. Inspired by a betrayal Aura Davis experienced when she found herself being portrayed as a mean, self-centered, careless woman, she picked up the guitar and brought “the madwoman” to life.
Revolving around the fictional character, “What You Love” tuned into the dark, dangerous side while remaining the initial touch of a campfire feel to enrich the storytelling. Unlike the emotionally detached, man-eating woman in gossips, “What You Love” adds depth to the character. Deep in the sonics, the reverberant, atmospheric soundscapes have the hurt and lonely feeling in them that makes you wonder. On the surface, the bad girl is the heartbreaker who never sticks around, but deep inside, no one knows what she has been through.
There are so many layers in Aura Davis storytelling that fascinates you and keep you in the loop to explore the sonics and her lyricism. The guitar strumming creates a flaming texture underneath Davis’s vocal. Her cathartic performance has the emotionally charged moodiness that instantly draws you in.
Gigantic Hand Drops Haunting New Single “Saint Joan of Arc”
Song of the Day
Photo credit: Sarah Tamar
Chant-like vocal brewing in an emerging fuzziness and booming pads while glockenspiel decorates the skyscape like glitters and stars. The persistent, echoing lyricism draws you into an introspective space where the repeating line “the lines are forming, they push into waves” leaves a burning mark in your memory.
“Saint Joan of Arc” by Gigantic hand compresses a rare combination of artistry and powerful storytelling into a single creation. Inspired by the French heroine Joan of Arc, who led France to victory during the Hundred Years’ War with England and later burned alive on the stake for witchcraft, “Saint Joan of Arc” subtly explores a darker, ancient event with their uniquely electrified soundscapes.
Joan of Arc was born in medieval France, believed that God has chosen her to lead France to victory in the hundred years’ war with England. With no military training, Joan convinced Charles to let her lead an army and achieved a momentous victory over England and its allies. After Charles was crowned King Charles VII, Joan was burned alive on a stake for witchcraft. She was only 19 at that time. 500 years later in 1920, Joan was officially canonized as a Roman Catholic saint.
SINGLE REVIEW: END OF PROOF “DON’T THINK TWICE”
Song of the Day
End of Proof dives into what we all desire the most yet almost seem impossible sometimes, which makes the song highly relatable. It gives you the feeling that End of Proof, aka Jon Hammeren Nilsson, is speaking your mind. It taps into the vibration where things are easy and the chemistry is strong. Dreaming about the perfect evening of falling in love, “Don’t Think Twice” is a song that melts your heart.
Do you wonder that maybe sometimes we give too much credit to making small talks and conversation that what we need is the exact opposite? As indie as it could be, “Don’t Think Twice” narrates around a fantasy of what could be a perfect date.
Optimistic major chords and electric dreamscapes with dazzling storytelling, “Don’t Think Twice” gives you the tickling feelings that you have long forgotten. End of Proof opens with a warm, fuzzy guitar riff. A chant-like vocal paired with illuminating piano communicates a sense of vulnerability and hope.
It swirls into a light-hearted, energetic narration, traveling from one location to another, the adventure and fun continue to grow as the pull between two souls is strong. “Don’t say your name, just dance with me. Don’t think twice.” is the captivating, magical line that lingers in your mind.
Written by Katrina Yang
FOLLOW END OF PROOF
SINGLE REVIEW: ANNE BENNETT “HEAVY HEAD”
Discovery
Photo credit: Courtney Brooke
Written in the middle of the pandemic, when Anne Bennett was on a trip down south to attend a memorial service, the brewing feelings in her chest poured out of her with a surprising turn which becomes what we hear today - “Heavy Head.”
Unlike the most logical conclusion of a song written from her own personality, “Heavy Head” marched on the street with its dark, haunting character, so much like the virus itself. Bewitching guitar and the lingering, stringy screams in the background weave into a giant web that ties up its captivity. In the rock and pop-infused soundscape, “Heavy Head” is a song with personality and grittiness.
The melodic ideas were a collection of wandering thoughts in space. It reminded you of something from the corner of your memory but laughed with its unique twists and turns. “Heavy Head” is something else.
Anne Bennett’s vocal is the soul of the song. Raw and smoky, her voice has a natural, unforgettable quality to it. Growing up in a musical household, the artist has always been surrounded by the soundtrack of vinyl CDs in turntables. After pursuing science later in her life, the artist reunited with her initial passion with no reservation and aimed to share her musical gifts with more people.
Written by Katrina Yang
FOLLOW ANNE BENNETT
PREMIERE: WHITE NOVELS “CALIFORNIA”
New Music Friday
Photo credit: Craig Shewry
Hardly anything with the name of California unravels without contrasts and drama. Always inspired by real-life experiences, White Novels is the brainchild of two songwriters: Jack Bestow & Tam Kane, which now has evolved into a five-piece band all over Scotland. Their aesthetics revolves around the raw, brutal honesty from their everyday life, absorbing inspirations that translated into the sonics of individual songs.
“California” is based on a real-life story when Jack found himself in a love triangle. He was dating a girl from California who had another boyfriend 5000 miles back home all along. With the mixture of the energetic, dreamful west coast impression and the torn-up feeling of betrayal and heartbreak, “California” is storming with contrasts.
Anyone who has experienced the aftermath of betrayal knows a deep hurt like this doesn’t go away easily as time passes. The violation of trust is hardly expressed in apology but left for one to lick their own wounds.
“When I held your hand, not knowing you’re in the middle.” channeling the direct pain into the lyrics, White Novels put a piece of themselves in the music as well as the lyrics. Wrenching and highly relatable, connecting people with similar experiences.
Written by Katrina Yang
FOLLOW WHITE NOVELS
SINGLE REVIEW: ZO “Never Meant”
Staff Pick
Photo credit: Hunter Carrico
Fronting the guitar and drum while the voice gradually moving forward then distancing itself to the background, “Never Meant” by the Philly band ZO challenges your senses with an extraordinary sonic arrangement. Gina Zo’s stunning, expressive vocal soulfully lingers behind the woozy sound wall, dipping in various influences with powerful, unforgettable performance.
The moment of letting go of expectations opens up the door to a new adventure that could set you free. From Red Hot Chili Pepper-inspired guitar riffs, the vocal line comes in from a distance, slowly moving forward. There’s a sense of rawness and openness in the drum.
The captivating, expressive, and passionate vocal line is immediately the highlight that invites you into the more dazzling texture. Brewing in the overriding electric resonance is an unfamiliar feeling being evoked. “Never Meant” has a cinematic approach in its songwriting.
ZO brings something unexpected and exciting for their listeners with the joining hands of a range of gifted, seasoned musicians. Lead singer Gina Zo was featured in NBC’s The Voice, while veteran drummer Mazzenga is an experienced musician gigging among various musicians. Detulleo is a current film-scoring student at Berklee College of Music.
Written by Katrina Yang
FOLLOW ZO
SINGLE REVIEW: SAM BAIRD “SHAPE OF OUR FEARS”
Discovery
A bitter vocal line travels in kooky dissonance, entering an odd, disconnected mental space. The level of discomfort teases your nerve in slow motion. Inspired by the overwhelmingly high number of people struggling with mental health related problems, “Shapes of Our Fears” depicts stagnation and anxiety vividly, shedding light on the way it alters our normal sense of self.
The UK-based singer-songwriter, Sam Baird, has captured the intensity and suffocation one suffers living with anxiety and stagnation precisely. An intentionally unnatural tempo brings attention to the subtle changes within slow motion. Magnified emotions and motions fed up fear and the increasing incapability to escape. “I see it like a conversation with myself,” Baird commented.
Despite the discomfort and pullback alongside every step forward, the song walks towards a captivating, anthemic resolution. The emotive guitar solo offers a temporary emotional release as it screams to the roof with a crooked voice. In between the closed doors, sometimes feelings awake, hungrily breathing in the fresh air.
“Shape of Our Fears” is confrontational and raw. Sam Baird directly tackled those feelings and emotions with brutal honesty. Unapologetic with his unique style and creativity, the artist is channeling important messages through artistic storytelling.
Written by Katrina Yang
FOLLOW SAM BAIRD
EP REVIEW: THE ROUTINE ‘UNDER THE CIRCUMSTANCES’
Album of the Week
The opening track “Too Many Times” quickly submerges you into a distorted, electric guitar-driven rock sound environment. A melodic, emotive vocal line in the middle of the chaos is the voice that comes to you on a silent night. The Routine gets under your skin and hits you right in the feels with their latest release, Under the Circumstances.
Under the Circumstances was a creation of long-distance collaboration. Hailing from the UK, the band spreads out across Cambridge and London. Written during the lockdown, the EP name was also inspired by the unique, isolated circumstance.
Photo credit: James Nunn Photography
“Do it For You” has an emotional-charged, bluesy guitar riff that gently leads the way and puts us in the hand of lead singer Liam Palmer’s soulful, road-worn voice. There’s a sensitive, vulnerable aspect of their music that connects immediately with people. Whether through their buoyant rocker color palette or raw, authentic lyrism, The Routine always gets you under any circumstances.
As shocking it may sound, but no two songs are alike. The band has shown their incredible versatility by exploring various sounds and styles in Under the Circumstances. Each title brings you on a different journey, evoking a feeling that you’ve long forgotten.
SINGLE REVIEW: MARY ELLEN “HE GOT A GUN”
Staff Pick
“He’s Got a Gun” has a bass-driven eerie vibe hovering over a heavy topic. Tackling violence and extremism, the Ireland-based Mary Ellen brings attention to the normalization of high school shootings in the US through her music.
With compassion and understanding, the verses explore the perspective of a 16-year-old facing the possibility of death before truly experienced life. In contrast to the shocking nature of this event, Raw, unembellished vocal delivery highlights the normalization of violence and danger children in the US are exposed to.
Photo credit: Mary Ellen
“I wrote this song during the pandemic; however, the idea came about while I was living in New York,” said Mary Ellen, “my manager (in a bar) at the time had lived in America for 12 years, and after her 6-year-old son came home from a school shooting drill that was treated as normal as anything, she decided to move back to Ireland. I just found it insane that children are just expected to be prepared for the possibility of getting shot at school.”
The perspective of the shooter has a psychotic glare on top of the eerie soundscape. Mary Ellen channeled a different personality through the change of tone in her vocal expression, introducing us to a sick mentality where the shooter seeks attention through extreme measures.
The haunting line “he’s got a gun” is repeated throughout the song. It makes you wonder if there’s a deeper message underneath the obvious. Maybe it was the lack of gun control, or in general, the lack of effort to keep our society safe.