The big releases you need to hear from the week ahead.
As Pale Waves enter this new chapter of their career, there’s a sense that the band have finally found their groove.
Words: Dan Harrison.
For Pale Waves, transformation has always been part of the process. Since their debut ‘My Mind Makes Noises’ in 2018, the Manchester-born band have evolved their sound, shifting from the moody pop-goth aesthetic that initially drew comparisons to The 1975, to an unflinching, razor-sharp alt-rock on 2022’s ‘Unwanted’. But with their new album ‘Smitten’, it feels like Heather Baron-Gracie and her bandmates have fully come into their own, embracing a sound that sparkles with romantic energy and joyous freedom.
“People expect a sad record about self-hatred from Pale Waves. They expect me feeling lost, confused, and like no one understands me,” Heather explains as part of Dork’s October 2024 cover feature, available now. She’s reflecting on the weight of expectation that has followed the band throughout their career – a band who, despite their undeniable success, have always had something to prove – whether that was shaking off the early comparisons to their Dirty Hit labelmates or breaking free from the ‘goth-pop’ box they’d been placed in. But with ‘Smitten’, they’ve turned a corner.
“I just don’t feel that way anymore, so I’m not going to fake it,” Heather adds. Instead, ‘Smitten’ is an album that embraces love and romance, two concepts that have long existed on the fringes of Pale Waves’ lyrical universe but have now taken centre stage. “There’s enough darkness going about that sometimes, you just want to hear songs that make you feel good.”
That statement sets the tone for the record. From the shimmering ‘Perfume’ with its jangly, earworm chorus to the delicate, heart-swelling balladry of ‘Not A Love Song’, the album is an ode to the highs and lows of love—but more than anything, it’s about the joy that comes with it. Heather’s lyrics explore queer relationships with an openness that she admits wasn’t always possible for her in earlier work. “I’ve never really sung about the queer experience until now,” she says, reflecting on how the album allows her to be more authentic. “It just felt important to express the joy of queer love because queer love is amazing. It’s made my life so much better, and it needs to be spoken about more in a positive light.”
This shift feels especially significant given the trajectory of the band’s discography. Their debut, ‘My Mind Makes Noises’, was written during a period of isolation and fear, while their sophomore effort ‘Who Am I?’ delved into the difficult process of self-discovery. And on ‘Unwanted’, Pale Waves channelled that angst and discomfort into punchy, pop-punk-inspired tracks that sounded like they were made to be screamed in sweaty mosh pits. While all of these albums dealt with varying degrees of inner turmoil, ‘Smitten’ is the sound of Pale Waves letting go.
The album’s opener ‘Glasgow’ is a swooning love song that immediately signals the band’s new direction with its lush, shoegaze-tinged guitars and widescreen production. ‘Hate To Hurt You’, meanwhile, takes a turn into new sonic territory for Pale Waves, with gleaming keys that feel more polished and sophisticated than anything they’ve done before. It’s the sound of a band no longer bound by expectations – either their own or those of their listeners.
“I feel very intensely about something, or I feel nothing at all,” Heather admits, describing her all-or-nothing approach to songwriting. It’s a method that has served Pale Waves well in the past, leading to the bold sonic leaps between records. But with ‘Smitten’, there’s a sense of confidence that comes from no longer needing to push against anything. “I really want it to mean something to people, and I want it to help because that’s why I make music. But at the same time, I have enough confidence now that I’m not dwelling on what people expect from me.”
This freedom comes through on every track. ‘Gravity’ is a standout, a song so densely packed with hooks that it feels like three songs in one. Its blend of dreamy alt-pop and punchy indie rock encapsulates the spirit of the record—joyful, confident, and unafraid to embrace complexity. It’s the sound of a band that have finally found their voice, and they’re using it to speak loudly and clearly.
While ‘Smitten’ might be Pale Waves’ most romantic album to date, it’s not all rose-tinted daydreams. Tracks like ‘Miss America’ deal with heartbreak and disappointment, while ‘This Is Not A Love Song’ sees Heather reflecting on a toxic past relationship. “It’s about me being someone’s experiment and her promising we had a future, but her refusing to commit. It wasn’t a pleasant experience, but it did teach me that I should always be someone’s first choice,” she explains. There’s an undercurrent of realism throughout the album, but even in the darker moments, there’s always a sense of hope. “I’ve moved on,” Heather says. “I just have way more love than hate or anger right now. I don’t want to hang on to that anger or get on stage and pretend.”
It’s this emotional honesty that makes ‘Smitten’ such a compelling listen. It’s an album about love in all its forms—romantic, platonic, and self-love. “I look back on the person that I used to be, and I feel sad,” Heather reflects. “The younger me was really lost, and it’s crazy to think about all the things I used to worry about that seem so insignificant now. Don’t get me wrong, I have my dark days, but they’re nothing compared to what they used to be.”
As Pale Waves enter this new chapter of their career, there’s a sense that the band have finally found their groove. ‘Smitten’ feels like the culmination of everything they’ve been working towards over the past few years – an album that combines the emotional vulnerability of their early work with the confident, widescreen sound of a band who are no longer afraid to be themselves. It’s a testament to the power of love, not just as a romantic ideal but as a force for personal growth and freedom. For Heather Baron-Gracie, this is just the beginning of a new era – one where the band’s spark is burning brighter than ever.
CROWS – REASON ENOUGH
Crows have always thrived in the gritty underbelly of post-punk, but with ‘Reason Enough’, they’re emerging into the light – albeit through the stained-glass windows of a Gloucestershire church. Swapping their East London rehearsal space for a former Catholic convent, the band have infused their third album with an almost spiritual intensity. Lead single ‘Bored’ captures the zeitgeist of a generation juggling creative pursuits with the 9-to-5 grind, while ‘Is It Better?’ showcases their evolution towards what frontman James Cox calls ‘Crows in high definition’. It’s a record born from the longest writing process of their career, shaped by day jobs and life’s mundane frustrations. Yet, in the hallowed halls of their makeshift studio, Crows have found redemption in resilience, crafting an album that’s both a reflection of our times and a reason to keep pushing forward.
EZRA COLLECTIVE – DANCE, NO ONE’S WATCHING
Fresh off their 2023 Mercury Prize win, Ezra Collective are back to prove that lightning can indeed strike twice. ‘Dance, No One’s Watching’ is both an album title and an ethos. Crafted on the road as the band toured the world, their third offering is a love letter to the transformative power of movement. From the bustling clubs of London to global stages, Ezra Collective have bottled the essence of their live shows, creating a record that’s part spiritual journey, part raucous house party. With collaborations like ‘God Gave Me Feet For Dancing’ featuring Yazmin Lacey, they continue to blur the lines between jazz, afrobeat, and anything you can fit in between. A fitting monument to their rise from London’s underground scene to the big, scary mainstream, all while keeping their feet firmly rooted in community and joy.
HAYDEN THORPE – NESS
Hayden Thorpe’s ‘Ness’ is a sonic exploration of time, place, and memory rooted in the mysterious landscape of Suffolk’s Orford Ness. Collaborating with best-selling author Robert Macfarlane, Thorpe has woven a tapestry of sound that’s as enigmatic as the former weapons testing site that inspired it. So much so clever clogs, but it’s a space Hayden seems to thrive in with his post-Wild Beasts output. Lead single ‘They’ offers a glimpse into a world where the ghosts of military history rub shoulders with the timeless rhythms of nature. ‘Ness’ promises to be a nostalgic yet forward-looking journey, inviting us to lose ourselves in the hazy boundaries between land, sea, and sky.
MICHELLE – SONGS ABOUT YOU SPECIFICALLY
MICHELLE’s ‘Songs About You Specifically’ is a sun-soaked diary entry – but then it would be, given it was penned in the idyllic surroundings of Ojai, California. The New York collective have traded in their urban roots for a West Coast state of mind, resulting in their most intimate and honest work to date. Lead single ‘Cathy’ sets the tone, exploring the raw edges of post-breakup loneliness with a candour that feels both universal and deeply personal. The album’s creation fostered a closeness within the band that transcends typical friendships, allowing for a vulnerability that seeps through at every turn. From slick funk riffs to shoegaze-inspired dreamscapes, they don’t just refuse to be boxed in; they fight it with the vigour of a particularly wriggly cat, determined to avoid a trip to the vet. It’s clear that MICHELLE are ready to get up close and personal with their audience, one song at a time.
MYSIE – CONTROLLA
South London’s Mysie is ready to take control with her suitably named debut mixtape ‘CONTROLLA’. It’s a bold statement of intent from an artist who’s been steadily carving out her own niche in the UK music scene. With ‘LITTLE TOO LATE’ leading the charge, Mysie showcases her ability to blend genres with effortless cool, creating a sound that’s as unpredictable as it is captivating. ‘CONTROLLA’ is a collection that stands strong in the face of life’s little acts of chaos. Unapologetically playful yet deeply introspective, the mixtape serves as both a mirror to our times and a window into Mysie’s world. As she navigates the complexities of modern existence through emotive vocals and genre-defying compositions, she’s more than ready to take the wheel.
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