Single Reviews – 18 September 2022 – Eugenia Post Meridien, Arny Margret, Yop, The Backseat Lovers, Le Days

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Eugenia Post Meridiem – willpower

alternative rock

There’s a whimsical coolness to Eugenia Post Meridiem’s new single “willpower”. The group, from Italy, casually merge funk phrases with indie rock. Consisting of two Matteos and one Giovanni, the group set an ambitiously fun arty funk rock against frontperson Eugenia’s idiosyncratic vocal style. Joyous music, indeed. From the upcoming album “like I need a tension” out December 9th. 

 

Arny Margret –  “the world is between us”

folk

 

Icelandic sensation Arny Margret has been picking up fans with her blend of emotive folk songwriting and expressive, soulful singing. Margret delicately mixes deep emotion in her voice with the playful nature of writing on the bittersweet “the world is between us”. Hailing from the Westfjords of Iceland, Margret’s acoustic fingerpicking and rich vocals create a dreamily floating track. To listen is to enter a safe space where it’s just you and this person expressing genuine, complicated emotions.

Yop – Beyond Being

rock

Sonic explorers Yop are a two-piece industrial rock outfit from Ballina, Co Mayo, who are just as interested in jamming out solid tunes as they are being philosophically abstract and artistically minded. Their latest single, “Beyond Being”, with its persistent rhythm section, moody vocals, and atmospheric guitar tones, is both fetching and rewarding. 

rock
Anyone who likes chugging guitars and poppy melodies in equal measures would do well to check out this exciting new single from Uhtan group The Backseat Lovers, who effortlessly bring intimate irreverence via stunted rock phrases to anthemic heights, never once putting the gusto into second gear. 

Swedish artist Le Days is known to be viscerally intense and explorative in his work, and his newest single, “End of Everything”, is no exception. Restrained and measured, the piano-led composition is deliciously accompanied by deep strings yet manages to hold onto its minimalistic heart. At two and a half minutes, it serves a brief but potent helping of neoclassical warmth, tinged with sadness.

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