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Sunday (1994)’s self-titled debut EP is a testament to the band’s unique sound, their commitment to authenticity, and their ability to find beauty in the imperfections and nuances of the human experience. Arriving as a fully formed package, they’re a decade-long dream turned into a whirlwind of exciting potential. This really could be your new favourite band. Check out the latest cover story for our New Music Friday playlist edit, PLAY.
Words: Stephen Ackroyd.
Sunday (1994) are one of those bands. The once-in-a-blue-moon project that comes out of the gate knowing precisely who they are and what they want to be. Not just with perfectly pitched music, but with the entire package – an immersive world of sound and vision that envelops everything they do. They effortlessly weave together the bittersweet nostalgia of romance films with an equally cinematic sound. In short – they’re a bit good.
Consisting of Paige Turner, Lee Newell, and the enigmatic drummer known only as X [Formerly known as Twitter – Ed], Sunday (1994) are a transatlantic trio that has quickly captivated all the right people with their ability to find the magnificent in the mundane. As we dive into their world, Turner and Newell share a glimpse of their day-to-day life, which somehow manages to make even the most ordinary tasks feel extraordinary. With a glass of red wine “in tow”, they recount a day spent picking up film for tomorrow’s music video shoot, volunteering on meal prep for an LA homeless shelter, and enduring “a slew of dreaded Zoom meetings.” Even when asked to share a boring fact about themselves, Turner’s proclamation of “I love vacuuming” is delivered with a charm that makes it sound utterly fascinating. It’s this strange magic, this ability to transform the everyday into something special, that makes whatever it is they’re distilling such an intoxicating prospect.
Sunday (1994)’s core duo had always wanted to form a band, meticulously crafting their ideal sound and aesthetic, drawing inspiration from their shared love of film and their diverse musical influences.
“Paige and I have been dating for ten calendar years,” Lee explains. “It was always our dream to start a band together. So, over that time, we figured out exactly what our ideal band would sound like and look like, and here we are! In the presence of Dork! 9.6 fiscal years later.”
Yes, Dear Reader. Finally, for Sunday (1994), it’s all been worth it.
The band’s DIY approach is evident in every aspect of their work. Newell is “in charge of writing the theme tune, singing the theme tune, recording, mixing, artwork, shooting, editing, sobbing and absolutely nothing else”, while Turner lists her jobs as singing, writing, creative directing and “a bunch of boring shit behind the scenes” thanks to not having a manager. This hands-on approach allows them to maintain complete control over their creative vision, resulting in a cohesive and authentic output that puts those with gigantic teams to shame.
The band’s journey took a significant turn when they released their debut single, ‘Tired Boy’, just a couple of months ago. The track, with its confessional lyrics and sparkling melancholic guitar, quickly garnered attention online. “We put out our first song, ‘Tired Boy’, eight weeks ago, our second song, ‘Stained Glass Window’, four weeks ago, and today, we release our EP. The reaction has been astonishing. We feel extremely lucky. Just when I’d given up on life, it goes and drags me back in…” Newell muses, his words tinged with a mix of gratitude and disbelief.
“When we started this band, we knew the visuals were just as important as the music”
Paige Turner
“It feels like our lives have really started to change,” Turner agrees. “It’s all so exciting that I’ve had to start a rigorous morning self-help routine to cope.”
One of the most striking aspects of Sunday (1994) is their cohesive and impeccable visual aesthetic, which perfectly complements their nostalgic yet fresh invigorated sound. “Visual identity is extremely important to us,” Newell reveals. “We believe that you listen with your eyes. I’ve been cobbling together questionable art since before I can remember. A seldom found joy. When I first got a PC back in 1923, I remember slamming my hands against the keyboard and mouse on Jasc Paint Shop Pro 4.0 until I made something that looked close to OK. I haven’t stopped.”
Turner, too, has always been drawn to the visual arts. “I’ve always taken an interest in fashion and design. I thought that would be my career path before music found me.” Her past musical projects allowed her the space to experiment with aesthetic and learn how to “curate” – a skill that’s clearly come in useful when it comes to the cohesiveness of Sunday (1994)’s vibe. “When we started this band, we knew the visuals were just as important as the music,” she expands. “It came naturally to us both, and we just went with our personal taste and instinct.”
And what instincts they are. That keen eye for aesthetics extends to the band’s music videos and imagery, all shot on film rather than digital. “When shooting band photos or music videos, we intentionally only use film. Never digital. Film is tangible; it’s imperfect, and it’s not easy to navigate. That’s just how life is, and that’s what our music is about,” Newell explains, highlighting the band’s commitment to authenticity and their desire to capture the imperfections and nuances of the human experience.
“I think visually, shooting all our videos and pictures on film makes it feel very cinematic,” Turner adds. “Like it’s from another era. Sonically, we tend to stick to tempos and melodies you could hear as the credits roll.”
“You do, in fact, judge a book by its cover,” Newell states. Sunday (1994) definitely get it.
The band’s self-titled EP is a testament to their unique sound and ability to find beauty in the ordinary. When asked about the inspiration behind the release, Newell is characteristically enigmatic. “I hate it when a film’s trailer reveals the entire plot, so I will tread carefully. It’s about me and Paige. We came from two different solar systems and somehow arrived at the same place at the same time. Luck or destiny? Who knows? Who cares!”
The EP is a deeply personal collection of songs that explore the ups and downs of relationships, the longing for connection, and the beauty found in life’s small moments. Each track is a vignette, a snapshot of a specific emotion or experience that listeners can relate to and find solace in.
For Newell, the standout track on the EP is ‘Our Troubles’, a song that holds a deeply personal significance. “Truly, I love them all. If I had to pick one, it would be ‘Our Troubles’ because it’s such an outlier. It’s the heaviest track on the EP. It’s about a very specific and difficult time for me. Drinking myself to life in the most foul-smelling pub in Slough. I won’t call it out, but it rhymes with The Toes & Frown. I think Paige just sounds beautiful on it. I mean, she does on all the songs, but still…”
“Songs should ask questions, not answer them”
Lee Newell
Turner, too, finds ‘Our Troubles’ to be a favourite. “Singing about his experience was a fun challenge for me,” she admits. “It was like playing a character.”
As for their songwriting process, Newell believes that “songs should ask questions, not answer them.” He finds inspiration in the mundane moments of life, those fleeting instances that spark introspection and wonder. “‘The Loneliness Of The Long Flight Home’ was written on a plane when I had to fly back to England and away from Paige when my visa was up. It was traumatic. It’s those small moments that ask: ‘What if this was different? How would I feel?’”
Turner, on the other hand, finds catharsis in “complaining about life, our worries and woes.”
As cinephiles, Sunday (1994) draw heavily from the world of film, both in their music and visual aesthetic. For Turner, the medium’s ability to capture a specific moment in time is particularly appealing. “I want our music to feel like that when you listen to it,” she explains. “A world you can envision stepping into when you put your headphones on.”
With their self-titled EP, Sunday (1994) have created a world that listeners can indeed escape into, a place where the bittersweet nostalgia of romance collides with the raw emotions of real life. It’s a testament to the power of music and visual storytelling, and a promise of even greater things to come from this talented trio.
With a mix of humour, authenticity and unapologetic self-expression, it’s hard to imagine anything Turner and Newell put their minds to won’t end coming up smelling of sweet roses. With an EP release party to plan, songs for an album currently being recorded, and a promise of their first-ever live shows, they’re a band who have been building for a decade and yet are emerging like a whirlwind. With chemistry to die for, a captivating vision and a penchant for the dramatic, Sunday (1994) aren’t just a band to watch; they’re appointment viewing. ■
Sunday (1994)’s self-titled debut EP is out now. Follow Dork’s PLAY Spotify playlist here.
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