Listen: Better Man by Egentid

The latest single from Malmö-based indie-folk band Egentid, Better Man opens with a harmonica, atop a gentle foot-tap of a beat and strummed guitar. That rasping cry feels appropriate aged, for a song that is all about the experience of growing, but perhaps also just growing older.

Egentid, which tellingly translates into ‘alone time’ or, perhaps, ‘me time’, formed last year out of meet-ups between dads based around an open preschool (i.e. one where the parents stay) in Limhamn. The impact of parenthood hums through Egentid’s music, and Better Man in particular. Written from the perspective of a new parent, now past 40, it highlights the desire to grow and be better, and how that pursuit benefits the self, and those around you.

Better Man slowly builds towards a swirling chorus of overlapping falsetto vocals. The experience of what it means to be a man changes as you grow, and there is something of my experience wrapped up in the shifting experience of Egentid’s new single.

Better Man follows on from Egentid’s debut single, Call You Back, which was released back in on 6 March, and both come from Sail On, the band’s debut, out on 28 March.

Watch: Today by The Queen’s Head

Opening with a dead pan spoken word delivery and some anxious keys, the new single from The Queen’s Head, Today, is created as a suicide note for radio. It is something the band’s Joel Douglass describes as, ‘Well intended, but sharply manipulative’.

Bringing together sharp drums, glimmering disco touches and the angular structures of post-punk, The Queen’s Head create music in a melting pot of cultural touchstones. The video for Today, filmed by the band, edited by band member Tom Butler, and produced by Joel together with Andy Savours, beams a succession of images from working-class Britain into your eyeballs. For me, it draws on a similar feel of the arch artistry meets authenticity of Danny Boyle’s Trainspotting. Glimpses of Margate, and a sign, reading ‘For your pleasure & leisure’, even seeming to evoke Trainspotting’s Spud, whose crisp, almost textural interview line, ‘it’s like, my pleasure in other people’s leisure’ sublets a small heroin-filled studio flat in my brain. Describing the video, which itself forces a re-edit of the song, Tom says:

'I think we achieved the brief I set out, a video melancholic by its form and befitting of Today. My character reminisces about a seaside trip with Joel, seen through a dreamy montage of friendship captured on camcorder. In the present, in an apartment stressed in the brown and orange austerity of the 70s, my character sits in contemplation, haunted by a Joel-shaped figure, stark by its relative fidelity. A story of heartbreak and betrayal is revealed, exploring basic tension of the song — the disjunct between a loving friendship and a darker reality.’

There is a sad desperation thrumming through Today, as the vocals reach out for some sort of connection. I’m generally opposed to heavy processed vocals, but the treatment here on Today’s chorus is perfect, layered, and pitched in a way that evokes the cracking emotions of someone unable to hold their feelings any more. It paves the way for the spilt cacophony of the song’s bridge, where spoken words accelerate, slamming like fists into soft furnishings, walls, and television sets. This happens as synths swirl and dance, chaos unfurling in our minds, desperation, depression, love and hurt all smashed together in conflict.

The Queen’s Head are led by two frontmen, Joel, who also plays guitar, and Tom, who also plays bass. Today was inspired by a real-world letter Tom wrote to Joel, concerning Joel’s depression, entitled To a Fallen Friend. Joel describes the letter, saying “In it I detailed the sense of betrayal I felt at the hands of his depression, and the selfish act of withdrawal which is so often a symptom of that terrible disease”.

Today is out now, and represents the apex of the band’s forthcoming Titanic EP, due on 8 July.

Review: Better Place EP by Martin Oh

Following on from the song Better Place, featured on BlackPlastic.co.uk last year, Martin Oh is back with a full EP release, which shares its title with the previous track.

You can stream the full EP below, which expands the European-Mediterranean vibes of the song Better Place with four additional songs. All take the Martin Oh sound, developed in partnership with producer SOHN, in different directions. I particularly enjoyed the earnest sense of being emotionally overwhelmed that is What Am I Doing, a track that joyfully plays with the experience of feeling hooked on someone, and unable to move past them. The song builds these beautiful quiet moments, where Martin sings, “It’s you, it’s you, it’s you, it’s all wrapped up in you”, before the song moves to a chunky riff as he declares, “…And I just can’t seem to get you off my mind”.

Elsewhere, Same Song builds against a stripped back groove, up to the point where the song is enveloped in swirling melodies in its chorus. The contrast between the song’s quiet moments and the chorus creates a wonderful tension, the moments where the song lets go, in that chorus, feels like a moment of pure escapism.

The release ends with the new track Neverland, which acts as the culmination of both the EP, and Martin Oh’s catalogue to date. Inspired by the feeling of “being trapped in a life that doesn’t feel like your own, searching for an escape but never finding it”, Neverland is a deliberate reminder of possibility, as the artist describes:

“(Neverland is) a vibrant electro-pop track that reminds you the horizon is within reach. Heart-pounding bass, a sun-soaked melody rising like a wave… This song is a call to let go, to run toward the unknown, to dance until the weight of regrets disappears.”

As a song, Neverland pulses with energy and optimism, sunny melodies that play at the intersection of nostalgia and hope. The synths, guitars, and vocals all combine to create something warm and exciting, the emotional equivalent of blowing out the cobwebs and making a fresh start. Having started with an initial melodic idea, Martin Oh looked to layer more and more synths to give the song the energy it ends up creating in the listener. It’s a perfect close to the EP, and an exciting tease for what might come next.

Check out Better Place EP below, or on your favourite streaming service.

Listen: No Downtown by Charlotte Boin

As a teenager, I grew up living in the UK’s Suffolk countryside. Whilst I now have a sense of nostalgia for that landscape, at the time I felt suffocated by it. The place, the thinking, the people, and the sense of diversity all felt so small and stifling. I found myself longing for the potential and possibility of cities, which shimmered with the potential to find people more like me.

With my own experience in mind, it is perhaps no surprise that French musician Charlotte Boin’s new single resonates with me. Entitled No Downtown, the song “paints the picture of being stuck in a town too small for your big dreams”. Both written and produced by Boin, the song draws together soft alt pop melodies with R&B textured percussion, together with her own raw lyrical performance.

The resulting song is polished but emotionally authentic. Liberal use of sub-bass lends the song an introspective feel, whilst hinting at the nighttime thrills of the larger environments Boin longs for. Taking inspiration from artists that include Frank Ocean, Beyoncé, and Britney Spears, Charlotte’s sound reflects global sensibilities whilst still drawing on the roots of her southwestern French hometown.

Check out No Downtown below:

Listen: Temporary by Kylie Rothfield

Following on from last year’s big, impassioned single, Never Loved Somebody, US musician Kylie Rothfield is back with her new single, Temporary. Where Never Loved Somebody was an epic slice of emotive pop, Temporary is a more muted and understated affair.

Opening with clipped percussion and a Hooky-esque New Order bass line, Temporary shimmers with a series of close cinematic synth tones that underline Rothfield’s (once again) beautiful, crisp and glassy vocal. The song’s bruising lyrics pair with a streamlined, restrained production, the streamlined and detached sound reflecting Rothfield’s own disassociation from her situation and emotional state. As she sings the song’s chorus, it’s clear that this is a song about opting to stay in a situation where you are knowingly hurting yourself in an attempt to put off future, inevitable, pain:

“I blocked your phone on Saturday,
I keep on calling anyway,
We’re always acting like it’s not…
Temporary”

Temporary was written and produced by Kylie, alongside queer indie alt-pop artist Mothé, and takes inspiration from the likes of The Strokes and The Cure. Check it out below, and look out for Kylie Rothfield’s debut album, due in sprint 2025: