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Watch Pins Official music video:
https://youtu.be/zj_HgrbA2tw

I can feel the pins in the lining of the bed we made...

You’ve stuck like a splinter in my finger
You know how much damage there is to be done
And so I have to take a hot needle to get in there
'Cos you prick and chip away just for fun

Sometimes I think we’re like the tortoise and the hare
And I just followed the trail you tread, like a thread
And we wove in and we wove out of each other
So close I couldn’t see the patterns

But I can feel the pins in the lining of the bed we made
I know there’s still an ache in the stitches that were sewn
It came on like a white hot shock and I know it’s the end
I don’t wanna play your pretend pretend pretend

I’ll fall to my knees and I’ll purge you out
And when you’re gone I hope I’ll feel like we never met
Thank god I didn’t have to dig too deep
'Cos you never had my heart in the end

But I can feel the pins in the lining of the bed we made
I know there’s still an ache in the stitches that were sewn
It came on like a white hot shock and I know it’s the end
I don’t wanna play your pretend pretend pretend
I don’t wanna play your pretend pretend pretend

I know what it feels like to be hurt
I know what it feels like to find cracks in the surface
I know what it feels like to be dragged through the dirt
I know what that feels like

And I can feel the pins in the lining of the bed we made
I know there’s still an ache in the stitches that were sewn
It came on like a white hot shock and I know it’s the end
I don’t wanna play your pretend pretend pretend

Pins in the lining of the bed we made
I know there’s still an ache in the stitches that were sewn
White hot shock
And I know it’s the end

All tracks written by Natalie McCool
Recorded and produced by Dave Berger at Lathbury House
Mixed by Chris Taylor and Dave Berger at Parr Street Studios

www.nataliemccool.co.uk
www.facebook.com/nataliemccoolofficial
www.youtube.com/nataliemccoolmusic
www.twitter.com/nataliemccool

The Great Unknown

Pins

London, 1888. The city was split open by fog and fear. In the alleyways of Whitechapel, whispers traveled faster than the police, a woman with violet gloves and dark, unblinking eyes had been seen near every killing, always vanishing before the screams.

Her name was Alice Harrow, though no census ever listed her. She appeared in society papers once, briefly, a portrait dated 1885, taken at a private salon for the avant-garde. She wore a crimson dress and a faint smile. Three months later, the painter who hosted the event was found dead, his eyes missing.

The tabloids called her The Woman in Red. The police called her myth. But those who lived in the underbelly, the poets, whores, and night drifters, swore she was real. They said her eyes didn’t reflect light like normal eyes; they absorbed it. That when she stared at you long enough, your mind filled with sounds that weren’t your own.

A detective named Jonathan Merrin claimed in his private notes that Alice was tied to a series of ritual murders predating Jack the Ripper by at least five years. He traced her lineage to an occult circle known as The Nocturne Society, a group of artists obsessed with transcending death through vision and sound. The final entry in Merrin’s notebook read:

> “I met her in the reflection. Her eyes were not eyes, but openings. I could hear the sea.”



He disappeared two nights later.

In 1890, a phonograph cylinder surfaced, supposedly recorded by Alice herself. It contained no discernible words, just a droning hum, and beneath it, a faint heartbeat. When played backward, the tone forms a melodic phrase eerily similar to the hook of “Dark Eyes.”

Over the next century, that melody reappeared in strange places, an old lullaby collected in rural Romania, a coded broadcast intercepted during World War II, even a police audio file from the 1960s tied to an unsolved London homicide. Always the same progression. Always labeled Alice’s Song.

The modern recording known as “Dark Eyes” was pieced together from fragments of that ancient melody, supposedly from an acetate disc acquired by a private collector in 2018. Those who’ve analyzed it claim there’s something wrong with the reverb: the reflections in the sound don’t behave naturally. When viewed through spectrogram analysis, her silhouette appears, a woman’s face, eyes wide open, staring back.

And here’s the part that chills scholars — in the last second of the track, if you isolate the left channel, a whisper surfaces:

> “I’m still watching.”

Dark Eyes

‘Bright Young Things’ (EP)
Record Label: Scruff of the Neck Records
Impact Date: March 16th 2015

“I’m not moving, it gets faster, moving slowly and walking backwards,” croons singer James Fitchford on ‘Regress’. Fortunately, the opposite couldn’t be more true. Whilst earlier releases from Delamere relished in an understated spacial awareness, their mammoth choruses somehow blowing them open even further, Bright Young Things leaves behind the shimmering guitar lines and hard-hitting percussion in favour of a sleeker, somewhat subtler sound. Almost.

Much like the band themselves, their debut EP is built around a confident exploration of dynamics; the trademark verses of eponymous lead single ‘Bright Young Things’ as subdued as ever, the choruses cathartic explosions of stadium-sized proportions. The EP also marks a definite step-up in confidence in the production department too (track 3 ‘All of This’ done in-house by drummer Will Mason), the polish of previous releases paradoxically stripped by the cataclysmic sci-fi sounds of the single’s conclusion. It might have been two years in the making, but it seems it was time well spent.

Having spent two years honing their sound, it was inevitable that murmurings of a debut EP would soon follow. And follow they have, the band now ready to unleash Bright Young Things on the world, turning heads with their infectious hybrid of sleek synth-pop and emotionally-charged indie. Having already earned support from such regional radio personalities as Rob Adcock (BBC Introducing Stoke) and Lucee Clarke (6towns Radio), Bright Young Things might very well be the release to push Delamere from the fringe, in to the mainstream.

Press for previous release ‘Headstrong':

“…Headstrong is a professional, technically smooth as silk, layered and intricate, yet there is a raw, emotive edge, providing veracity and an underlying darkness and yearning that always gets me.”
Arun Kendall, Backseat Mafia

“Indeed, whilst ‘Do You Want Me’ flirted with an understated synth, ‘Headstrong’ relishes in it, and as such it feels like the fully realised sound the band have been teasing us with.”
Dave Beech, Lounder Than War

Bright Young Things will be unleashed in March 2015, with a launch party at Manchester’s Night & Day Cafe on March 21st.

Bright Young Things

Single Launch, The Finsbury July 21st

Heart it on Hypem - http://hypem.com/track/2bsp7/ESCAPISTS+-+Eat+You+Alive



ESCAPISTS - Eat You Alive

Released February 16, 2016
'Forgiver' out April 29.

Written by Adam Fuhr and Keegan Steele
Produced by Jace Lasek and Yes We Mystic
Engineered by Jace Lasek at Breakglass + Private Ear
Mixed by Jace Lasek at Breakglass
Mastered by Ryan Morey at Grey Market

YES WE MYSTIC
Adam Fuhr • Vocals, Guitar, Synth, Rhodes
Keegan Steele • Vocals, Mandolin, Synth
Jodi Plenert • Cello, Organ, Keyboard, Piano, Wurlitzer, Vocals
Jordon Ottenson • Drum Kit, Electronic Drums

ALSO APPEARING
Solana Johannson • Violin

Thanks to Jonathan Cummins, Jace Lasek, Eric Ross, MFM, FACTOR.

No Harm

T O N G U E S

Written by Azad Cheikosman. Performed by TORCHES

Engineered by Adam Lathrum at The Fortress in LA. 
Mixed by Chandler Harrod at Capitol Records in LA.
Mastered by Steve Fallone at Sterling Sound in New York.

www.facebook.com/torchesthemusic
www.torchesmusic.com
@torches_music

Available on iTunes, Apple Music, Spotify & more...

Tongues

Anteros - Breakfast

This is my first single off of my album "Imaginary World"
https://itunes.apple.com/us/album/imaginary-world/id946121876


Single

Valentine

www.stillagreatnight.com
www.instagram.com/StillAGreatNight
www.twitter.com/SAGNtweets
www.facebook.com/StillAGreatNight

Still A Great Night

I Suppose

Singer, songwriter & guitarist. 
'I Fantasise' ❤️‍🔥 out now

Excelling in razor-sharp alt-pop, Natalie McCool’s songs have every hallmark of great pop music with a fresh twist of modern influences.

“Mesmerising lilt-pop gem.”
The Sunday Times Hottest Track