Supporting unknown bands since 2017
“For the listeners who haven't listened to my music before, I can describe it as nu-goth, which borrows elements from industrial rock and grunge rock. It's a journey that takes you into the mind of somebody struggling with mental illness.” Staytus
This track was heavily based off melbournes lockdowns - being stuck inside for almost 2 years disconnected, alone, dark and feeling like my bedroom was a prison. You would have some dark days and a few euphoric high days because your brain was missing any simulation it just didn’t know what to do with itself. This song really emulates the feelings that were had during that time and looking back represents a part of history that we lived through and survived through. But it’s very angsty and loud.
“I had produced a tribute to Wyatt in NYC many years ago. Fred Frith, Peter Blegvad, Hugh Hopper and many others appeared. Robert gave it his official nod of support. When I moved to London to produce my first Meltdown Festival, Robert seemed the obvious choice to curate it, and from that, a lovely friendship evolved. Of course, it was daunting asking him to sing something I’d written. I know he gets a lot of proposals of which he turns down nearly all. But happily, he said yes. He said he thought he could sing this set of lyrics— and commented about the possibility of singing about his father. It was a huge relief to me.’’ Vanderwolf
“We were going for a tape saturated, overdriven preamp sound in everything for “Falling.” Mostly seeing what we could do with almost no reverb on anything. “Head in the Ground” was more a love we all have for the classic Lofi indie music. Finding a way to inject psych pop into an introspective feel. Very dreamy, especially with the synth sound design, but keeping the UK garage feel underneath.” Eric Everhart / Elektric Animals
All the tracks were written during the height of the pandemic and I think the uncertainty, anxiety, and isolation of the time comes through in the music. Mav had recently come out of a long-term relationship as well as moving back to Norfolk from Brighton, so a lot of the lyrical themes are of reflection and 'starting again'” Jack Abbott / The Lowtones
“My songs are dark, fierce, introspective - written from my experiences as a queer woman, a feminist, a person with mental illness, and an introverted indie musician. I write about fighting to improve a world that wasn’t built for us, losing (and re-finding) yourself in toxic love, being a messy weirdo in an industry that values glamour and perfection, the simultaneous terror and allure of the male gaze, and burning your rage for fuel to become something more.”
"Hope You Like The View” is Poison Oak’s third single from their upcoming EP, The View From Here. The song explores the themes of choices, and sometimes how someone’s unexpected choices can affect the people they’re close to.
“One day in Reykjavík, when I started my studies University of the Arts, at the height of the pandemic back in the fall of 2020, I went for a walk in the park. Isolated and saddened that I couldn't reach my husband in the Faroe Islands, I got inspired. I could no longer contain the unbearable loneliness that I felt as I was walking back to my student flat. Words started pouring out of my head. Briskly, my pace increased, I needed to write the words down before I would forget them all! I ran and finally entered my room, started jotting all the words down - I couldn't keep up with my thoughts and kept on writing. When I was finally finished, I started to piece together my words on paper until finally the puzzle of words came together and there was my poem - Isolation. Anna Iachino
As the first verse begins, Alex’s compelling vocals are nicely underscored by introspective guitar chords, together creating a contemplative atmosphere that perfectly accompanies the track’s questioning lyrics; while the memorable chorus that follows is colored by dynamic guitar melodies and vibrant synth notes.
“Luna: Dependent Personality Disorder’ is the third chapter of the Luna fantasy saga. The boy enters a never-ending paradoxical loop of returning back to the bridge under the same dystopian red sky. As the boy walks past the streets without end, he begins to question everything, inviting the sleep to forget about all the ever-present, humdrum repetition of tragedies in sight. SamSeb Kierkegaard