The Big Ones: Dolores Forever’s ‘It’s Nothing’ is everything, plus Blossoms, Jamie xx, Honeyglaze and more

The big releases you need to hear from the week ahead.

‘It’s Nothing’ is a candid exploration of personal and societal complexities, delivered through meticulously crafted pop songs.

Words: Dan Harrison.

At first glance, ‘It’s Nothing’ might seem like a modest title for a debut album, but Dolores Forever use it as a tongue-in-cheek invitation to explore the profound ‘somethings’ that lie beneath the surface of everyday life. At the heart of the record lies a deliberate juxtaposition of contrasts — levity and vulnerability, tenderness and frustration. The London-based duo – that’s Hannah Wilson and Julia Fabrin, ‘FYI’ – have crafted a record that is both a raw examination of life’s challenges and a carefully constructed collection of accessible alt-pop. Their friendship is the band’s lifeblood, a connection that fuels their creativity and authenticity. “Women connect with each other on this amazing level, even in adulthood, and we wanted to make adult female friendship a little more visible,” Hannah reflects. “We should value friendships just as highly as romantic relationships.”

The album’s title itself is a nuanced paradox. “It’s taken from a line in ‘Go Fast Go Slow’: ‘I lie in bed at night and I pretend it’s nothing’,” Hannah explains. “Usually, when somebody says ‘oh, it’s nothing’, it actually means it’s really something. That’s sort of a theme across this record, really.” This ironic twist encapsulates the duo’s approach to songwriting — delving into the ‘nothings’ that are, in fact, everything.

‘Go Fast Go Slow’ stands out as a powerful commentary on body image. The song confronts the objectification and limitations imposed on women, exploding with a raw energy that is both cathartic and invigorating. It’s a track that channels frustration into empowerment, serving as “somewhere to place our female rage,” as Hannah puts it. “It explodes with a lifetime of frustration about being objectified, limited and defined by our gender. Feminism is far from completed and we’re ready to shout about it.”

Friendship and emotional support are recurrent throughout, particularly in ‘Split Lip,’ a moving ode to the protective instincts that underpin deep relationships. The sincere ballad honours their own struggles and their commitment to help each other through tough times. Their bond translates into music that feels both intimate and universally relatable. “Dolores is as authentic and true as we can be; we’re trying to represent ourselves instead of other people,” Hannah says.

“Not Now Kids” opens the album with a reflection on feelings of powerlessness in today’s socio-political climate. “It’s a really scary world, and we live in a privileged part of it,” Hannah observes. “It’s really tough to be so connected to the news every minute of every day and then to try to process that without dragging yourself under.” The song doesn’t attempt to offer solutions but instead creates a communal space for acknowledging shared anxieties. “If you look at something like ‘Not Now Kids’, it’s all about that sense of powerlessness, like you’re a pawn in a big game of chess,” she adds. “But that’s why we make it clear that we’re focusing on what we can affect.”

Whilst there are heavier themes on the record, hHumour serves as a plays a significant  counterbalance,‘Someday Best’ exemplifies this diffusion in action, addressing body image with a cheeky twist. “Screaming about carbs is empowering!” Hannah exclaims. “We’re basically trying to counter moments of real tenderness with more empowering takes. Obviously, there’s serious emotion around body image in ‘shut up and eat the pasta’, but we wanted to twist some of it so it’s a lighter take on it; otherwise, it would just become depressing.”

The duo’s songwriting process is intensely personal, a stark contrast to their previous experiences writing for others. Julia reflects, “I think it’s more challenging to write for yourself. When you’re writing for other people, it’s about trying to get into their perspective, whereas this is like using a different part of your brain; it’s quite emotionally draining by the end.” This emotional investment is palpable throughout the album, lending authenticity to each track.

The decision to keep the album concise at ten tracks was – obviously – very intentional, but more than just a random call. “When we started, we were both super keen to keep it as a ten-track record,” Julia notes. “A few nearly crept in at the last minute, but we wanted it to represent us, and keeping it tight meant we had to really focus on what we were saying and trying to do.” This restraint ensures that each song contributes meaningfully to the album’s narrative without diluting its impact. Hannah adds, “I’m an overly emotional songwriter; I find points of tension really interesting, but we wanted to make sure it was digestible. If we’d just kept adding songs, it would have become a depressing dirge.”

Ultimately, ‘It’s Nothing’ is a candid exploration of personal and societal complexities, delivered through meticulously crafted pop songs. In blending the personal with the political, the serious with the humorous, Dolores Forever have created an album that feels both timely and timeless — a true reflection of the world we navigate today. It’s an invitation to listeners to confront the ‘nothing’ that is, in fact, everything.

Blossoms – Gary

Blossoms have always had a flair for blending sharp indie-pop hooks with a touch of playful nostalgia, and on ‘Gary’, they take that alchemy to new heights. The album centres around its title track, a quirky anthem inspired by the bizarre true story of a stolen 8-foot fibreglass gorilla. Turning a left-field news snippet into a singalong gem, they even roped in Rick Astley and Sean Dyche for the video. May as well if you can, huh? Collaborations with Jungle’s Josh Lloyd-Watson and our favourite Irish pop genius CMAT infuse the record with ’80s influences and personal tales. With ‘Gary’ Blossoms manage to stay both fresh and familiar, proving even the least cool of names can produce something a little magical.

FIDLAR – Surviving The Dream

FIDLAR’s ‘Surviving the Dream’ dives headfirst into the tumult of adulthood, blending their trademark unhinged energy with a newfound introspective edge. Zac Carper’s candid reflections on mental health and addiction form the backbone of the record, lending a rawness that cuts through their surf-punk swagger. They’re as brash and abrasive as ever, but there’s a vulnerability too that adds layers to their party-hard ethos. FIDLAR remain wild and unpredictable, but this time there’s a hard-earned wisdom simmering beneath the chaos.

Hippo Campus – Flood

With ‘Flood’, Hippo Campus strip back the gloss to reveal something more intimate and self-reflective. Departing from the brighter tones of their earlier work, they opt for sparse instrumentation that lays bare deeper emotional currents. Navigating personal insecurities and the quest for identity in a bewildering world, there’s a maturity to ‘Flood’, as the band embraces vulnerability, trading youthful exuberance for the weightier nuances of growth.

Honeyglaze – Real Deal

‘Real Deal’ sees Honeyglaze tackling life’s messiness with both grit and tenderness. Confrontational lyrics collide with fuzzy guitars to dissect toxic relationships and the complexities of human emotion. The album’s lo-fi indie sensibilities are punctuated by moments of cathartic release, keeping everyone on their toes. Embracing the unpredictable, Honeyglaze weave vulnerability and frustration into a cohesive, daring follow-up to their debut.

Jamie xx – In Waves

Jamie xx’s ‘In Waves’ is a sonic exploration of dance music’s emotional peaks and valleys. It’s a celebration of communal euphoria and the introspective moments that follow the last beat. Bottling the joy of post-pandemic raves, collaborations with Kelsey Lu and Panda Bear on ‘Daffodil’ add intimate, reflective layers. Balancing nostalgia for electronic music’s golden age with forward-thinking production, Jamie xx crafts a deeply layered, immersive experience.

Julian Casablancas + The Voidz – Like All Before You

The Voidz push the boundaries once more with ‘Like All Before You’. Known for their chaotic, genre-blending antics, this album is rife with politically charged commentary and sonic unpredictability. Fusing abrasive guitar riffs with Julian Casablancas’ signature drawl, they channel a palpable dissatisfaction with the state of the world. It’s abrasive, challenging, and quintessentially The Voidz – experimental rock at its most unrestrained.

Katie J Pearson – Someday, Now

Katy J Pearson’s ‘Someday, Now’ is a warm tapestry of folk, pop, and Americana, all anchored by her rich, velvety vocals. It’s a record that captures the nuances of personal growth and self-acceptance. Pearson’s storytelling is both intimate and universal, her country-tinged melodies entwined with indie-folk sensibilities, crafting a record that’s heartfelt and quietly confident.

Katy Perry – 143

Katy Perry’s ‘143’ aims to reclaim her throne, but it grapples with finding footing in today’s ever-shifting pop landscape. Singles like ‘Woman’s World’ and ‘Lifetimes’ haven’t made significant waves, sparking conversations about her current relevance, while continued collaborations with Dr Luke have also cast long shadows over the album’s reception. While themes of love and self-expression abound, ‘143’ so far has struggled under the weight of past triumphs and the complex cultural dialogues surrounding Perry’s creative choices. This Friday, the crowd can deliver its final verdict.

LICE – Third Time at the Beach

‘Third Time at the Beach’ sees LICE delivering a visceral, politically charged post-punk assault. Their sharp social commentary is laced with dark humour and satire, dissecting personal disillusionment and societal decay – relentless in their punk energy, all while maintaining their signature wit and bite. LICE continue to be one of the most confrontational and thought-provoking bands around.

The Waeve – City Lights

‘City Lights’ by The Waeve — a collaboration between Graham Coxon and Rose Elinor Dougall — is a moody, atmospheric journey through urban life and human connection. Blending post-punk, folk, and art-rock, Coxon’s intricate guitar work intertwines seamlessly with Dougall’s haunting vocals. Delving into themes of growth and vulnerability, they capture the tension and beauty inherent in modern city living. It’s a rich, immersive experience that melds melancholy with moments of quiet strength, showcasing the duo’s remarkable synergy.