Browsing Tag

Orchestral Pop

Leah Nawy’s ‘ordinary’ Turns Vulnerability into a Cinematic Spectacle

With all the intimacy of an impromptu demo recorded in a moment of creative ignition, ‘ordinary’ by Leah Nawy is anything but. The indie folk-pop progression is cinematically ornate, building crescendos that ooze the golden age of Hollywood while the duality running through the track keeps its emotional weight balanced on a knife edge.

With a vocal range that floats between seraphic and soul-stirring, she lets the narrative unfold syllable by syllable, pulling listeners deeper into an introspective world full of bitter-sweet, close-to-the-bone confessions. Within the abstract poetry of ‘ordinary’, tendrils of insecurity, uncertainty, desire, and regret intertwine, painting a panoramic view of what it means to be human in an era where meaning is something we have to define for ourselves.

A songwriter, producer, and multi-instrumentalist with deep roots in rock and classical music, Nawy’s ability to craft arrangements that feel instinctively right is second nature. From her time playing Jersey Shore venues to earning her Master’s at Berklee NYC, her refined ear and raw experience shine through in every note.

‘ordinary’ is the kind of song you hear once, feel your existence affirmed by, and refuse to let go of.

The single is now on all major streaming platforms, including Spotify.

Review by Amelia Vandergast

NYC’s seraphic songstress Eleri Ward reached the epitome of evocative etherealism with ‘Float’

Eleri Ward

Eleri Ward’s latest single, Float’, exhibits how she doesn’t just live up to the hype cascading around her multifaceted creativity; she immortalises herself through arcanely affecting textures and harmony.

Originally from Chicago and now based in NYC, Ward has been immersed in music and theatre since she was five years old, honing her ability to turn storytelling into an emotional force. Known for her critically acclaimed reimaginings of Stephen Sondheim’s work, which The New York Times and Forbes praised for their imaginative indie-folk acoustic approach, Ward has shifted her focus to crafting her own celestial and introspective sonic universe.

With ‘Float’, she moves beyond her acoustic roots into expansive electro-pop territory while retaining the storytelling depth that defines her artistry. The emotive elements ensure that the single never veers towards pure theatre. Instead, Ward enmeshes intensity with intimacy; crescendos tear through you with dramatic potency, only to be followed by ethereal, caressing alt-indie intricacy.

‘Float’ is immersive enough to make you hold your breath, as though you’re being abstracted from oxygen and plunged into a pool of pure unfeigned artistry, its balance of raw emotion and sonic subtlety creating a hypnotic grip.

Float will hit all major streaming platforms on February 21st. Find your preferred way to listen via Eleri Ward’s official website.

Review by Amelia Vandergast

‘Ghosts’ by Liz Owen: A Luminous Hymn to the Shadows of Memory

With her hauntingly seraphic ballad Ghosts, the Merseyside breakthrough singer-songwriter Liz Owen delivered an introspective piece, marked by diaphanous instrumentation that cradles her powerhouse vocals, which soar with an ethereal resonance while grounding the listener in the emotive weight of her lyricism. Exploring how the spectres of memory can obscure our clarity, Owens turns a personal reckoning into a universally affecting experience.

Hailing from Wirral, Merseyside, Liz has already carved a name for herself on the national stage, touring with icons like Midge Ure and Joan Armatrading. Her extensive BBC Radio features and reputation for rhythmic, fingerstyle acoustic guitar work lend an air of accomplished artistry to everything she creates. On Ghosts, the neo-classical elegance of the arrangement intertwines with an accessibility that nods to her ability to straddle the mainstream without compromising her craft.

Released as part of her debut LP Beautiful Beasts, which arrived in October 2024, Ghosts stands as a glowing testament to her lyrical and vocal talent, which deserves to be revered as fervently as the works of Tori Amos and the Anchoress.

Between Ghosts and her recently released festive single It’s Different This Christmas, Liz Owen is laying the groundwork for a career defined by her ability to amalgamate vulnerability, technical skill, and storytelling in ways that resonate beyond sound.

Stream Ghosts on Spotify now.

Review by Amelia Vandergast

ZERONIRVANA unleashed the alt-pop debut of the year with her arcanely affecting triumph, Lucid Drama

The orchestral alt-pop priestess, ZERONIRVANA has made her affectingly arcane debut with her single, Lucid Drama. The striking statement of artistic identity from the Bangalore-born, Boston-based artist defies the conventional boundaries of alt-pop.

The track opens with a haunting piano melody, each minor key striking a chord of introspective depth. The orchestral strings, sharp and poignant, weave through the layers of turbulent electronica, crafting a soundscape that cuts to the core of the melancholic themes explored. It’s in this complex musical terrain that ZERONIRVANA’s voice finds its home – a voice that carries the weight of classical training yet resonates with the relatable essence of a modern pop icon.

Lyrically, ‘Lucid Drama’ is a poignant exploration of resilience in the face of relational adversity. ZERONIRVANA navigates the nuances of emotional strength and vulnerability with a deft hand, her words offering both a mirror and a map for listeners grappling with similar struggles. The song becomes a beacon of empowerment, encouraging a steadfast hold on one’s ground amidst the tempests of life.

ZERONIRVANA’s artistic vision, as showcased in ‘Lucid Drama’, transcends mere musical performance. Her commitment to creating a therapeutic, almost theatrical experience for her audience is palpable. This track is a journey through the avenues of mental health and personal growth, set against a backdrop of captivating visuals and storytelling that ZERONIRVANA masterfully curates across her digital platforms.

In ‘Lucid Drama’, ZERONIRVANA doesn’t just launch her career; she invites us into a world where music is a catalyst for self-discovery and empowerment.

Lucid Drama was officially released on February 18th; stream the single on Spotify.

Review by Amelia Vandergast

Arden – I Don’t Sleep: A Poignant Alt-Pop Symphony of an Exposed Heart and Soul

The London-based alt-pop pioneer, Arden, found the inspiration for his latest single, I Don’t Sleep, through the fear that once you have laid your soul bare, there’s no covering it up to the ones you exposed your vulnerability to.

There’s sweetness in the sentiment “there will always be a part of me that’s yours” but the bitterness of that part of you becoming redundant in the wake of a breakup is a cutting juxtaposition. Lyrically, it is powerful enough to make you view relationships through a brand-new cautious lens. Still, within the blossoming swells in the piano melodies and the orchestrally carved crescendos, there’s a scintillating atmosphere, full of spirited passion – stirring enough to make you want to take the dive into inevitable pain.

I Don’t Sleep is a testament to Arden’s ability to blend poignant lyrics with lush musical arrangements. The song achieves a cinematic quality, panoramic enough to be part of a blockbuster soundtrack, yet intimate enough to tug at the heartstrings with every note. Arden’s cultivated songwriting, reminiscent of Owl City, shines through in I Don’t Sleep. His soulful vocal performance, memorable melodies, and sophisticated production showcase a maturity beyond his years.

As he opens 2024 with this energised and refined sound, Arden solidifies his place as an artist to watch, captivating audiences with his honest and witty songwriting.

I Don’t Sleep will hit the airwaves on January 5th; stream it on SoundCloud.

Review by Amelia Vandergast

Jessamine Barham exhumed a ‘Shallow Grave’ to speak on the violent oppression of women in her latest single.

Jessamine Barham released her most striking single to date when she read the harrowing tale in her latest single, Shallow Grave. The haunting vocal harmonies atop the staccato acoustic guitar strings and as the centrefold within the quiescent orchestral swells of chamber pop strings brought the solemnity within Shallow Grave to spectral life in a way that assures us that even though Jessamine Barham’s dark pop stylings are niche, her talents of a sonic narrator of feminine tragedy should never be underestimated.

The days of the Salem witch trials and being sectioned with hysteria may be behind us, but the violent oppression of women will always be a tale as old as time. It was no feat of hyperbole to lyrically infer that feminine acts of rebellion can incur the death penalty. Some may say hell hath no fury like a woman scorned, but life hath no tyranny like the men determined to keep us chastised.

Shallow Grave was officially released on September 24; stream it on YouTube.

Review by Amelia Vandergast

Bree Gregory cut right to the emotional core with her orchestral ballad, See You Soon

The Adelaide singer-songwriter Bree Gregory captured the bitter-sweetness of impassioned goodbyes and the beauty of uninhibited vulnerability with her latest orchestrally arranged piano pop ballad, See You Soon, which strips the sonorous production right back to her vocals, piano keys and a string quartet.

Between the cutting crescendos and the steady strides in her dynamic vocal register that carries the same sense of beguile as Adele, See You Soon cuts you right to the emotional core.

Moving away from her RnB soul sound, which saw her peak at number 4 in the top 10 AMRAP charts with her single, Waiting, was a bold move, but discernibly, her talents lend themselves efficaciously well to more than one genre. We can’t wait to see where this Billboard & Grammy-worthy exposition of viscerally warm raw emotion takes her. Even greater successes are surely in the pipeline.

See You Soon will debut on September 22; stream it on SoundCloud.

Review by Amelia Vandergast

Kayla Friend quelled the melancholy in her breakup track, Over, with enchanting ethearealism

Before putting down roots in Texas, the California-born, NY-raised singer-songwriter Kayla Friend forged a successful career in theatre before branching out as an independent artist following the pandemic; her experience as a music theatre composer lent itself effortlessly well to her sound. Her enchanting melodies and vivacious vocal harmonies create an otherworldly cinematic atmosphere you can easily lose yourself in before you find yourself in the all too resonant lyricism.

Her latest single, Over, follows the plaintively painful experience of separation; with the blossoming orchestral swells in the indie-pop score, the single is underpinned by a sense of rebirth to quell the melancholy in the perfectly emotionally rounded single. With the guitars that seem to pirouette around her celestial soprano vocal lines, Kayla Friend created one of the most stunning singles we’ve heard in 2023. It’s only a matter of time before she’s snapped up by a major label.

Over will be released on September 22nd; hear it on SoundCloud.

Review by Amelia Vandergast

Grand Nights descended with his demons in the orchestral pop-rock masterpiece, Falling

Render your heartstrings raw with the latest single, Falling, from the alt-pop evocateur, Grand Nights. The orchestral pop-rock outpour of artfully uninhibited emotion takes you on a cinematic cruise through the kind of introspection that only dares to visit you in the dead of night; hang onto the ornately atmospheric nostalgia tight as you’re driven through the 80s and 90s via a route never taken.

After cutting his teeth as a drummer in a metal band, honing his talents in rock, punk and pop bands, the one-man powerhouse behind Grand Nights was ready to take to the centre stage and exhibit his heart-in-throat lyrics that amplify in visceralism to the tune of his panoramically immersive melodies.

With his EP, South of Everything, in the pipeline, there has never been a better time to implant Grand Nights on your radar.

Start the descent with Falling, by heading over to Spotify.

Review by Amelia Vandergast

Cameron Owen diaphanously covered Les Miserables’ Bring Him Home

After Cameron Owen’s cover of Bridge Over Troubled Water left us insurmountably arrested, we couldn’t wait to feel our emotions swell with the orchestral crescendos in his latest single, Bring Him Home.

The compellingly diaphanous ballad is as graceful, delicate, and powerful as an angel’s wing for the way the theatrical pop cover of the Les Miserables prayer comes to life through the minor piano keys and his unfaltering vocal lines fusing as the ultimate aural redemption story for humanity.

Just as Les Miserables conveyed the resilience of the human spirit and its ability to endure heartbreak while still keeping courage, love and passion at our core, Cameron Owen’s reworking of the number will serve a poignant reminder of our innate inner capacity for beauty.

Bring Him Home was officially released on April 21; stream it on Spotify.

Review by Amelia Vandergast