The epic Mosswood Meltdown is returning July 1st and July 2nd, 2023 to Oakland’s Mosswood Park. Today, the festival announces its first wave of the lineup, which features Le Tigre for their only Bay Area appearance of the year, Gravy Train!!!!, The Rondelles, and Tina & the Total Babes for their exclusive, only shows of 2023, Quintron & Miss Pussycat, and more. And of course, it wouldn’t be a Mosswood Meltdown without our iconic and punkeriffic host, John Waters. The lineup thus far can be found below and early bird tickets for the festival (for a holiday special pricing) are on sale this Friday at 9am PST/noon EST.
MOSSWOOD MELTDOWN 2023 TEASER Le Tigre (1st Bay Area gig in 15 years!) Gravy Train!!!! (Only gig 2022/2023) Tina & the Total Babes (Only gig 2022/2023) The Rondelles (Only gig 2022/2023) Quintron & Miss Pussycat
Austin band Holy Water share the first single single today from their forthcoming self-titled debut album via Metal Injection. Hear and share “Waterest Him With Tears” HERE. (Direct Bandcamp)
Heavy music is experiencing a renaissance of innovation and creativity, while most of contemporary music genres have stagnated in recent years.
Case in point: Holy Water, a powerful new step merging heavy doom guitars, stoic experimentalists like Caspar Brötzmann Massaker and Khanate mixed with early 80s proto-industrial sounds like Psychic TV and The Leather Nun, metalgaze melodies and hints of Wovenhand’s gothic folk. Yes, that’s a wide range of styles, but it shows just how deftly Holy Water, the nom-de-tune of vocalist/guitarist Jasper den Hartigh cuts its own sonic space.
Jasper den Hartigh was previously a member of critically praised New Orleans post-punk band Heat Dust, which released a handful of recordings on The Flenser label and toured with Thou and The Body.
Holy Water’s 11-song eponymous album was self-recorded in 2021, at home and at den Hartigh’s Austin rehearsal space. Help on drums came from Andrew Stevens, guitar from Neckbolt’s Ben Krause, and vocals from den Hartigh’s wife, Sarah Contey.
“The album came after an extensive creativity exercise I did called Compost-Turn,” den Hartigh explains. “In which I put out 7 releases from friends and myself as physical bookmarks. When it came time to work on a self-titled solo project, this helped the songs appear rapidly. This album was my attempt at making a pop-record, while trusting my gut, using lessons learned over the course of my entire musical life. From being in punk bands, to playing slowcore, to ambient noise, and heavy metal. The songs all have references to Dutch fairy tales but also contain more personal writing.”
Holy Water will be available on cassette and digital on February 3rd, 2023, LP to follow in summer. Cassette preorders via Primal Architecture, digital via Bandcamp and LP via Time Release.
The Psychedelic Furs came back strong in 2020 with Made of Rain, their first album of new material since 1991’s World Outside. Richard Butler‘s voice and songwriting hadn’t lost a step and the rest of the band had plenty of pent-up pandemic energy to release.
“The Boy That Invented Rock & Roll” launches the album with shoegaze guitars and Richard Butler singing about himself to some degree (The Furs are one of the most influential UK post-punk bands still going.) and probably about others he’s seen in his long career who burned out (“the suicidal drunk dance, the sense that things will fall apart”) too soon. “Don’t Believe” has stadium-level grandeur with its expansive sound courtesy of Rich Good‘s guitars.
“When the new black is white and the new lows are high, in the ticking of the time, you’ll be mine,” Richard Butler sings on “You’ll Be Mine” – a gorgeous track with string instruments, alto saxophone work from Mars Williams, and celestial synths from Amanda Kramer. The chorus increases in power every time Butler sings it. Speaking of Butler’s power, it’s on full display on “Wrong Train” – a song about walking away from a relationship and the mixed emotions that come with it. “This’ll Never Be Like Love” continues this theme.
Paul Garisto‘s drums on “Ash Wednesday” seem all over the place but are actually loaded with highly technical fills. “Come All Ye Faithful” isn’t a cover of the traditional Christmas song, but rather a bit of a goth track, as is “No-One,” which has some Cure-like guitars behind Tim Butler‘s heavy, growling bass. A harpsichord plays the role of clock chimes on “Tiny Hands” – a song that seems to be about how time often gets away from us before we realize it’s gone.
“Hide the medicine from the kids,” Butler sings on “Hide the Medicine,” a sad tale of someone trying to hide their depression from their children hidden in a lush rock song. “Turn Your Back on Me” is just as lovely, with Good’s guitars seeming to echo from the back of a workshop behind the studio. “Stars” starts slow and then builds into a big, screeching song that drops out in a quick distorted plunge.
The Psychedelic Furs had a lot to get out of their heads when making this record, and the end result is a fine piece of work.
Today, shame announce Food for Worms, their explosive new album out February 24th on Dead Oceans, and present its lead single/video, “Fingers of Steel.” In conjunction, the band announces their biggest headlining tour to-date, with stops in Brooklyn, Philadelphia, Chicago and more. Following 2021’s Drunk Tank Pink, “the sound of a band stretching into new shapes” (Pitchfork), shame finally arrive at a place of hard-won maturity on Food for Worms, which frontman Charlie Steendeclares to be “the Lamborghini of shame records.”
Food for Worms marks a sonic departure from anything they’ve done before, and – for the first time – the band are not delving inwards, but seeking to capture the world around them. Abandoning their post-punk beginnings for far more eclectic influences, Food for Worms draws from the sharp yet uncomplicated lyrical observations of Lou Reed, as well as the more melodic works of 90s German band Blumfeld. They called upon renowned producer Flood (Nick Cave, U2, PJ Harvey) to execute their vision. “I don’t think you can be in your own head forever,” says Steen. A conversation after one of their gigs with a friend prompted a stray thought that he held onto: “It’s weird, isn’t it? Popular music is about love, heartbreak, or yourself. There isn’t much about your mates.”
The “Fingers of Steel” video, directed by James Humby, sees the band work 19-hour shifts creating fake social media accounts to like, follow, and comment on their own material. Of the video,Steen says: “Self-obsession, social media flagellation and death can all be seen in this Oscar-nominated performance. No one’s ever done a video like this before and when you watch it, you’ll see why. Think Casablanca, but in color, and better.”
On one hand, Food for Worms calls to mind a certain morbidity, but on the other, it’s a celebration of life; the way that, in the end, we need each other. The album is an ode to friendship, and a documentation of the dynamic that only five people who have grown up together – and grown so close, against all odds – can share.
Back in 2018, around debut album Songs of Praise, shame were at the vanguard of a transformative scene that changed the underground music landscape in the UK; paving the way for artists soon to come. Then, Steen suffered a series of panic attacks which led to the tour’s cancellation. For the first time, since being plucked from the small pub stages of south London and catapulted into notoriety, shame were confronted with who they’d become on the other side of it. This era, of being forced to endure reality and the terror that comes with your own company, would form shame’s second album, Drunk Tank Pink.
Reconnecting with what they first loved about being in a band hotwired them into making the album after a false-start during the pandemic. Their management then presented them with a challenge: in three weeks, shame would play two intimate shows and debut two sets of entirely new songs. It meant the band returned to the same ideology which propelled them to these heights in the first place: the love of playing live, on their own terms, fed by their audience. Thus Food for Worms crashed into life faster than anything they’d created before. The band recorded while playing festivals all over Europe, invigorated by the strength of the reaction their new material was met with. That live energy, what it’s like to witness shame in their element, is captured perfectly on record – like lightning in a bottle.
Food for Worms sees shame enter a new, surreal landscape, as reflected in the cover art designed by acclaimed artist Marcel Dzama. It’s suggestive of what is left unsaid, what lies beneath the surface, the farcical and fantastical everyday that we are living in, in a society where both everything and nothing is possible. Recording each track live meant a kind of surrender: here, the rough edges give the album its texture; the mistakes are more interesting than perfection. In a way, it harkens back to the title itself and the way that with this record, the band are embracing frailty and, by doing so, are tapping into a new source of bravery.
It’s through this, and defiance, that the band have continually moved forward together; finding light in uncomfortable contractions and playing their vulnerabilities as strengths. The near-breakdowns, identity crises, Steel routinely ripping his top off on-stage as a way of tackling his body weight insecurities – everything is thrown into their live show, and the best shows of their lives are happening now.
Food for Worms Tracklist 1. Fingers Of Steel 2. Six-Pack 3. Yankees 4. Alibis 5. Adderall 6. Orchid 7. The Fall of Paul 8. Burning By Design 9. Different Person 10. All The People
shame Tour Dates Wed. Mar. 1 – Dublin, IE @ Button Factory Fri. Mar. 3 – Glasgow, UK @ SWG3 Sat. Mar. 4 – Newcastle, UK @ Boiler Shop Sun. Mar. 5 – Leeds, UK @ Stylus Tue. Mar. 7 – Sheffield, UK @ Leadmill Wed. Mar. 8 – Liverpool, UK @ Invisible Wind Factory Thu. Mar. 9 – Bristol, UK @ SWX Sat. Mar. 11 – Manchester, UK @ New Century Hall Sun. Mar. 12 – Cardiff, UK @ Tramshed Tue. Mar. 14 – Nantes, FR @ Stereolux Wed. Mar. 15 – Paris, FR @ Cabaret Sauvage Thu. Mar. 16 – Bordeaux, FR @ Rock School Barbey Sat. Mar. 18 – Lisbon, PT @ LAV Sun. Mar. 19 – Madrid, ES @ Nazca Mon. Mar. 20 – Barcelona, ES @ La 2 de Apolo Wed. Mar. 22 – Nimes, FR @ Paloma Thu. Mar. 23 – Milan, IT @ Magnolia Fri. Mar. 24 – Zurich, CH @ Plaza Sun. Mar. 26 – Munich, DE @ Technikum Mon. Mar. 27 – Berlin, DE @ Astra Tue. Mar. 28 – Hamburg, DE @ Markthalle Thu. Mar. 30 – Oslo, NO @ Vulkan Fri. Mar. 31 – Stockholm, SE @ Debaser Sat. Apr. 1 – Copenhagen, DK @ VEGA Mon. Apr. 3 – Brussels, BE @ AB Tue. Apr. 4 – Cologne, DE @ Floria Thu. Apr. 6 – Amsterdam, NL @ Melkweg Fri. Apr. 28 – London, UK @ Brixton Academy Wed. May 10 – Durham, NC @ Motorco Music Hall Fri. May 12 – Baltimore, MD @ Ottobar Sat. May 13 – Philadelphia, PA @ Union Transfer Sun. May 14 – Brooklyn, NY @ Warsaw Tue. May 16 – Boston, MA @ The Sinclair Thu. May 18 – Montréal, QC @ Foufounes Électriques Fri. May 19 – Ottawa, ON @ Club SAW Sat. May 20 – Toronto, ON @ Lee’s Palace Mon. May 22 – Kalamazoo, MI @ Bell’s Eccentric Cafe Wed. May 24 – Chicago, IL @ Thalia Hall Fri. May 26 – St. Louis, MO @ Off Broadway Sat. May 27 – Lawrence, KS @ The Bottleneck Sun. May 28 – Fayetteville, AR @ George’s Majestic Lounge Tue. May 30 – Dallas,TX @ Granada Theater Fri. Jun. 2 – Austin, TX @ The Scoot Inn Sat. Jun. 3 – Houston, TX @ White Oak Music Hall Sun. Jun. 4 – New Orleans, LA @ Toulouse Theatre
I knew Goat‘s new album, Oh Death, was going to be a treat when it opens with a sample of a song from the film The Undertaker and His Pals.
That track is “Soon You Die,” and it brings back Goat back after a year with so much fuzz that you might think your speakers are faulty. The lyrics are about the inevitable coming of death to us all, but how it’s really nothing to worry about when you stop to consider it. “Soon you die, but don’t you cry, ’cause there’s still time to go party.” It’s great to hear the strange, intoxicating sounds that only Goat can seem to create on guitars – even as they fade out and leave you wanting more.
“Chukua Pesa” brings back their love of Middle Eastern instrumentation, rhythms, and vocal stylings. “Under No Nation” has Goat proclaiming, with groovy hand percussion and sweat lodge dance beats (and plenty of wild, acid jazz saxophone), that they’re free of labels, borders, and limits imposed by others or themselves. If you aren’t moving by the time “Do the Dance” comes along, you certainly will be after it starts.
It wouldn’t be a Goat album if there wasn’t at least one song with the word “goat” in the title, and Oh Death has two. The first is the weird, drunken hornets’ next “Apegoat” instrumental and the second is “Goatmilk” – a space-age psych-lounge cut. It perfectly flows into “Blow the Horns” – a call to beings above and beyond us whose guidance we can all use right now.
“Remind Yourself” is a reminder that we can only bring peace from within. In order to project peace, we must first remember that we have it all within us. It’s there, we often just choose, consciously or not, to not accept it. The mix of distorted guitars with clear marimba beats is a wild one. The brief instrumental of “Blessings” drifts into “Passes Like Clouds” – a lovely instrumental to remind you that thoughts, pain, pleasure, life, and, yes, death, all eventually drift away and reform like clouds. Thich Nhat Hanh once said that we are like clouds and “A cloud never dies.” Goat knows this, too, and they want to share that knowledge with us.
Strange, beautiful, psychedelic, and mesmerizing – King Buffalo‘s newest album (and fifth in just the last two years), Regenerator, is another stunning work from them.
Starting with sunrise synths on the opening title track, the album lifts you off the ground much like the cover image astronaut being pulled up from an alien world. The song’s lyrics tell of embracing the sun and Sean McVay‘s guitars seem to reach escape velocity in order to do it. The drums on “Mercury” at first sound like they can’t decide which time signature they want, but you soon realize that Scott Donaldson is playing at such a high level that he’s weaving intricate patterns like a bee creating a hive.
Dan Reynolds cranks the bass fuzz on “Hours,” a song quite suitable for blasting while you’re dodging asteroids in your star fighter. “Interlude” keeps the cosmic vibes rolling as we emerge from the asteroid belt and cruise past a swirling nebula. “Mammoth” is about leaving the past behind so we, like a mammoth, don’t get frozen in it and stuck there forever. It’s a heavy-psych Zen lesson.
McVay’s guitars on “Avalon” have a lovely psych-shimmer to them throughout it as he sings about his hopes of finding paradise after death. “Firmament” brings us back to the ground for just a moment before another, final liftoff. “I have become one with the great eternal blue sky,” McKay sings, and you believe him – especially when the massive bass riffs and Donaldson’s hammering drums join him in orbit.
You’ll likely join them as well when you hear this record.
The debut EP from Austin, Texas’ Rickshaw Billie’s Burger Patrol, Burger Time Classics, is a protein-packed wallop in just six songs.
I mean, the opening chords and vocals of “Born to Lose” alone will smack you upside the head – and that’s before the heavy snare pounding and cymbal sizzling enters the fray. “Dickhead” starts sounds like an old Weezer track they never released and then drops chugging guitars that Weezer still dreams of playing.
“Maggot” is almost sludge metal. “Kill for the Thrill” is so hot and that it’s practically charbroiled. It’s hard to tell which instrument is putting out the most volume in it. The title of “All Beef, Patty” is not only funny, but it also lets you know what’s in store for you over the next three minutes and thirty-seven seconds: pure beefy rock with a little extra grease. “Maniac” has touches of thrash metal sprinkled in for good measure.
Today, Bass Drum Of Death share ‘Head Change’, the Zeppelin-esque third song taken from their forthcoming album, Say I Won’t, released January 27th via Fat PossumRecords. Bandleader John Barrett says of the track,”We kind of wanted a mid-tempo psych stomper, and really didn’t change a whole lot from the demo. We added the dueling guitar bridge in the studio spur of the moment, and it ended up being one of my favorite parts on the whole record.” Watch the videoHERE.
The band shared two tracks previously, the midtempo bruiser ‘Say Your Prayers‘ (a collaboration with Mike Kerr of Royal Blood) and the hi-octane ‘Find It‘ (the video features live footage from the band’s sold out New York show in June of this year). Say I Won’t, comes at a time of massive change for Barrett, having relocated from New York to his hometown of Oxford, Mississippi during the pandemic. The record is also a homecoming of a different sort, with the band rejoining the ranks of Fat Possum, also in Oxford, the label that released their first record GB City in 2011.
The point of an odyssey is to return home changed—still the same person, but deepened somehow, wiser and better, wearing your traveling scars proudly. Bass Drum of Death’s new album is the end result of a journey that took singer and bandleader John Barrett from a small town in Mississippi and sent him across the world and back home again. The music still rips, with blown-out guitars and drums, and the melodies are catchier than ever, hollered in Barrett’s trademark yelp. But the music hits differently now, more at peace with itself, propelled by a new swagger. Say I Won’t is the record of a veteran band finding its stride and leaning into it, stripping back the excess and finding the raw core of their sound.
“Moving back to Oxford was a much-needed reset,” says Barrett. “When I started, I just wanted to play in a punk band and drink beers and travel around. I didn’t really think much past that. And I got really burned out. When I moved back home, I started writing songs again, just for fun. I realized I wanted this record to have more of a hometown feel. The switch back to Fat Possum was easy. It’s much better working with people I know and love and love everything they do.”
Say I Won’t is the first Bass Drum of Death album written, demoed, and recorded with the touring band instead of Barrett doing everything on his own. He found a freedom in working with collaborators that wasn’t available to him before, opening different aspects of the songwriting. It was a process of live recording, layering on different parts and overdubs, and then stripping it all back to the bones of the song, keeping the raw wild heart of the music intact.
“My first two records were made entirely by me alone with my gear, my laptop, and a Snowball USB mic,” says Barrett. “They were just made quickly, cheaply, as an excuse to tour. I wanted to take my time with this record. Make something good that I was proud of in itself.”
The band recorded the new record with Patrick Carney of theBlack Keys at Audio Eagle Studios in Nashville and the result is a groove-oriented, 1970’s-indebted collection of rock songs, with tempos set for cruising and scuzzy guitars galore. There’s an energy and vitality to the music that feels in line with the best of the Bass Drum songs, but with an added boost that comes from new bandmates and a new perspective.
The album finds a reinvigorated Barrett firing at all cylinders, backed by his best band yet. It’s Bass Drum of Death at their loosest and scuzziest and most tuneful, a true rock record in all the right ways. It’s a throwback by way of moving forward, sporting a maturity and swagger that comes from a decade of playing music on the road and surviving to tell about it. More than anything, Say I Won’t is a blast to listen to, music built for driving with your stereo cranked.
“I had to relearn that making music is fucking fun,” says Barrett, “and you should have fun doing it. If it’s miserable, what’s the point?” He laughs. “But man, when a song hits, it’s the best feeling in the world. That’s what this record is about. Getting back to that good place and staying there.”
King Gizzard & The Lizard Wizard are one of the greatest and most ambitious working rock bands today. This year alone, they’ve released six incredible albums and played sold-out shows all across the world (including three nights at the iconic Red Rocks Amphitheatre and a packed show at New York’s Forest Hills Stadium), earning themselves an insatiable following. Today, they announce a 2023 North American residency tour, which will be their only shows stateside next year, plus cinema screenings of CHUNKY SHRAPNEL, their full-length concert film directed by John Angus Stewart and distributed to cinemas by Abramorama. The band will play three consecutive shows in select cities, and then will cap off with a 3-hour marathon show at Los Angeles’ Hollywood Bowl. As pointed out in their encompassing SPIN feature, it doesn’t matter if the band is playing “in the California desert, an amphitheatre carved into the Rocky Mountains, or a tennis stadium in Queens, the Australian sextet is blowing more minds than ever, one fan at a time.” Tickets are on sale this Friday at 1pm ET.
CHUNKY SHRAPNEL is a feature length live music documentary from King Gizzard & The Lizard Wizard, directed by John Angus Stewart. Literally bringing the audience onto the stages of their 2019 tour across Europe and the UK, CHUNKY SHRAPNEL offers a uniquely immersive experience never before captured on film, a musical road movie dipped in turpentine. Screenings will largely take place one night only on December 7th. A full list of cities and dates can be found here.
TOUR DATES (new dates in bold) Sat. Dec. 10 – St. Kilda, AUS @ The Palace Foreshore Thu. Dec. 29 – Tauranga, NZ @ Wharepai Domain Sat. Dec. 31 – Wanaka, NZ @ Rhythm & Alps Wed. Jan. 4 – Auckland, NZ @ The Matakana Country Park Fri. Jan. 6 – New Plymouth, NZ @ Bowl of Brooklands Thu. Mar. 2 – Paris, FR @ Zenith Fri. Mar. 3 – Amsterdam, NL @ Gashoulder – SOLD OUT Sat. Mar. 4 – Tilburg, NE @ 013 – SOLD OUT Mon. Mar. 6 – Malmo, SE @ Plan B – SOLD OUT Tue. Mar. 7 – Stockholm, SE @ Munchenbryggeriet – SOLD OUT Wed. Mar. 8 – Oslo, NE @ Sentrum Scene Thu. Mar. 9 – Copenhagen, DK @ Den Gra Hal Sat. Mar. 11 – Warsaw, PL @ Progesja – SOLD OUT Sun. Mar. 12 – Prague, CZ @ Lucerna Velky Sal Mon. Mar. 13 – Vienna, AT @ Gasometer Wed. Mar. 15 – Milan, IT @ Alcatraz Thu. Mar. 16 – Zurich, CH @ X-Tra Fri. Mar. 17 – Lausanne, CH @ Les Docks Sat. Mar. 18 – Wiesbaden, DE @ Schlachthof Mon. Mar. 20 – Brussels, DE @ Cirque Royale – SOLD OUT Wed. Mar. 22 – London,UK @ Brixton Academy Thu. Mar. 23 – London, UK @ Brixton Academy Thu. Mar. 30 – Sydney, AUS @ Big Top Luna Park Thu. Apr. 6 – Byron Bay, AUS @ Tivoli Fri. Apr. 7 – Byron Bay, AUS @ Byron Bay Bluesfest Thu. June 1 – Grundy County, TN @ The Caverns Underground Fri. June 2 – Grundy County, TN @ The Caverns Underground Sat. June 3 – Grundy County, TN @ The Caverns Amphitheater Wed. June 7 – Morrison, CO @ Red Rocks Amphitheatre Thu. June 8 – Morrison, CO @ Red Rocks Amphitheatre – EARLY SHOW Thu. June 8 – Morrison, CO @ Red Rocks Amphitheatre – LATE SHOW Sun. June 11 – Chicago, IL @ The Salt Shed Mon. June 12 – Chicago, IL @ The Salt Shed Tue. June 13 – Chicago, IL @ The Salt Shed Fri. June 16 – Carnation, WA @ Carnation Farms Sat. June 17 – Carnation, WA @ Carnation Farms Sun. June 18 – Carnation, WA @ Carnation Farms Wed. June 21 – Los Angeles, CA @ The Hollywood Bowl – 3 HOUR MARATHON SET
London-born-and-raised musician and producer Eaves Wilder presents her second single, “Morning Rain,” via her new label, Secretly Canadian. Wilder fuses “indie rock tropes with pop to create a raucous yet melodic sound” (Clash). While her first single, “I Stole Your Jumper,” was described as “cool and vengeful” (Brooklyn Vegan), “Morning Rain” airs more on the melancholic side. It finds the 19 year old toying with the struggle of returning to school. Growing up, Eaves spent more time doodling pianos in her workbooks than paying attention to her teachers. Frustrated with having to allow another person to take control of her day, she’d long to be at home, writing music in her bedroom. “For me, school was something that postponed life from starting. I spent the entire time trying to get out of it. You spend 18 years memorizing so much information and then they turn around and expect you to know who you are and what you want, but you’re not given a chance to really figure that out.”
Eaves Wilder began songwriting around the age of eight, harnessing an early obsession with ‘60s Motown records and the left-field pop of Lily Allen. She plastered pictures of her idols on her bedroom wall, but realized in her mid-teens that it was lacking any women. From then on, she made an active effort to get into more female musicians, coming across the riot grrl movement, a discovery that completely changed her life.
She began filing her own teenage obsessions into her collection and while doing so, uncovered the ugly sides of the music world, but also empowerment in the punk feminist fanbase; how artists took ownership in male dominated spaces, and what a powerful tool community could be. Online, and in real life at shows, Eaves saw these elements in the contemporary fan bases of the bands she loved. She became captivated by the idea of reclaiming the worth of the fan girl (which she considers herself to be) and how one can be hyper-feminine without the baggage that comes with it.
Since that self-realization, Wilder has been recording, producing and releasing her own music since the age of 16. Her honest and deceptively cutting lyrics have earned widespread praise from UK tastemakers, including The Sunday Times, NME, Clash, DIY, Dork and The Line of Best Fit, which hailed Eaves as “a star on the rise” (The Line of Best Fit). Signing to Secretly Canadian in 2021, something she waited until she was 18 to do because she thought it would be “uncool” to have her mom sign her record deal for her, Eaves has now swapped her bedroom for the studio, spending 2022 co-producing a run of new music with Andy Savours (Arctic Monkeys / Black Country, New Road / Rina Sawayama).
