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Lemonade Sin

From Envy to Altruism: The Rhythmic Rapture of Lemonade Sin’s New Single, Having A Better Time

The London/Devon-based indie quintet Lemonade Sin is an elixir we always look forward to pouring; they’re just as euphonically delicious as ever in their latest nostalgia-quenching cocktail, Having A Better Time taken from their forthcoming album, Deadly Sins.

Having A Better Time puts the 6th deadly sin, envy, under a scrupulous lens to vindicate anyone who has revealed a friend as a foe through the glow of jealousy while simultaneously drenching you in the new wave of era and genre-spanning rhythmic rapture.

The chameleonic guitars progress from winding blues into the stellar production to delivering a rancorously brashy standoff against disingenuous protagonists to raising the energy in the jangle pop choruses, working in seamless synergy with the ABBA-esque keys which inject elation into a bittersweet allegory of how being blind with envy and social media-imparted FOMO is an efficacious way of ensuring your world is rooted in negativity and moral decay. Yet, instead of chastising the envious, Lemonade Sin chose a sweet not sour approach to remind listeners of the bliss which lies in altruism; you just can’t help surrendering to the soul in the lush dualling harmonies

Having A Better Time was officially released on May 17; stream the single on Spotify or purchase the single on Bandcamp.

Review by Amelia Vandergast

Lemonade Sin tore away fakery with their 1970s glam atom bomb of nostalgia, Glad Game

Glad Game by Lemonade Sin

The UK indie-pop duo Lemonade Sin dropped a nostalgic 1970s glam atom bomb with their latest single, Glad Game. With jangled guitars and retro synth lines that are equally as sticky-sweet in their exuberantly euphonic energy, the duo, comprising Lee Friese Greene and Simon Aldous, surpassed their influences to orchestrate an infectiously enlivening feat of pure ingenuity which echoes the inexorable legacies of Belle and Sebastian, Pulp and Stereolab.

The layering of the harmonically honed boy/girl vocals draws you right into the centre of the protest on the people standing at the vanguard of the toxic positivity movement, who repress real emotions with fake plastic smile facades and shame those who are authentic in their candour.

The single was recorded and mixed at Penquit Mill Studio with Lucy and Matt Board (Pale Blue Eyes), who also contributed the keys to the release, which also features Jennifer Denitto on drums and Charlotte Beale on bass.

Glad Game was officially released on September 22; it is now available to stream and purchase on Bandcamp.

Review by Amelia Vandergast

London’s Lemonade Sin defied gravity with their elevated dream pop single, Melanie Nods

Melanie Nods by Lemonade Sin

Following the saturated-in-tape-delay indie dream pop intro, Lemonade Sin’s latest single, Melanie Nods, unfolds as a transcendentally playful aural crumble of the definitive UK sounds from the 80s to the 00s. The hazy shoegaze textures, chilling nods to post-punk and the Manic Street Preaches-Esque riffs in the middle eight pull together to form a sonic trajectory that you will want to follow time and time again.

With vocal reminiscences to Joy Division’s Atmosphere and the Human League’s Mirror Man happening simultaneously, Lemonade Sin is for every 80s fan out there looking for artists innovative enough to pull new aesthetics out of the synths, unmistakable percussion, and vocal layering.

Melanie Nods is now available to stream and purchase on Bandcamp.

Review by Amelia Vandergast