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Navigating Dreamland: Sarah Meth’s Dead End World

London-based 20-year old songwriter, Sarah Meth, released her debut EP, Dead End World, last week. Consisting of just four songs, the EP was written over three years ago. “Dead End World is an EP I wrote during my teenage years, so naturally the lyrics are more centered around trying to make sense of the near-adult world around me, as well as who I was at that age,” the artist said of the project. Dead End World is a showcase of Sarah Meth’s confounding songwriting abilities accompanied by exquisitely assembled instrumentals.

Similar to the illusory experience of waking several hours before the sun on an early Sunday morning, the EP’s intro, “If Only You Knew,” leaves you in a fog, feeling somewhat isolated yet hopeful for the day’s potential. The song’s hazy layers of brass and strings interwoven with Meth’s lush vocals will find you wandering through daydreams without haste or any desire for grounding.

The EP’s title track comes next, guiding us through our continued delirium. “Dead End World” is the disembodied hand poking through the fog, and because we’ve just been left in a daze, we blindly reach out to follow suit. Despite being written 3 years prior to the EP’s release, the song eerily and aptly portrays today’s societal climate: “I see hospitals surrender to people sickly thin / but those first in line don’t seem to bat an eye / because they have the money rolling in / and our friends, our friends are dying / because of the color of their skin / so we cry because the system just ain’t right / but the sirens aren’t sleeping tonight.”

“Tangled,” the artist’s latest single follows the title track. The song is a stripped, raw reminder that as easy as it is to give all of ourselves to another, self-love should always hold precedence. In a press release, Meth said the song is “really a ‘note to self’ about how easy it is to get knotted up in the way you feel. It’s meaning to me continues to change over time, but it’s a song that always seems to make sense when I come back to it.” Watch the artist’s intimate live performance of the song:

“What Does It Mean” is our reflective and groggy end to the lucid dream that is Dead End World. Written when Meth was just 15, the song examines community standards of womanhood. Throughout the brief, 3-verse song, we hear Meth navigating the familiar– sadly, often sordid– path from adolescence to adulthood in the position of a young woman: “What does it mean if everything I stand for / is betrayed by my greed to give myself away? / and so, I lose all of my dignity / have I failed to be / everything a woman should be?

Listen to Dead End World here.

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Interviews Reviews

Capturing Butterflies with Bea Bitter

Fluttering about anxiously with bright-eyed optimism and breathless anticipation, Bea Bitter’s latest single, “Serpent,” perfectly encapsulates the drunken euphoria of plummeting down The Rabbit Hole of Something New. Similar to those colorfully winged vibrating insects, this song can be felt in the gut. The single’s bewitching instrumentation tells a story of its own– a bass-driven expedition, gracefully catapulting our vessel into an ocean of brassy swells with beautifully assembled elemental percussion navigating the route. “Serpent” is Bea Bitter’s Siren Song.

The single follows Bitter’s first solo endeavor, “Dopamine,” a melancholy song about coming to grips with the love lost over a relationship’s lifespan and the sudden sobering realization of what the self truly needs in order to be happy.

“I think ‘Serpent’ is almost the emotional antithesis to ‘Dopamine,’ in a way,” the artist told The Greater Good. “The song is about deeply wanting to be intoxicating and entrancing to someone in the way that they are to you— it’s all about longing and desire, whereas ‘Dopamine’ is about being stuck in a relationship that feels dull, muted, and suffocating,” she continued, “I think you hit the nail on the head, the lyrics for ‘Serpent’ were definitely inspired by those butterflies you get when you are absolutely infatuated with someone, and all you want is for them to see you the same way.”

Hailing from Nashville, TN, Bea Bitter, or Brenna Kassis, gained primary traction with indie-alt band Ill Spector. Former Ill Spector band mate and life-long friend of Kassis, Max Colbert is responsible for the single’s production. Fellow Nashville artist, Noah Nockels, mastered the track.

I asked the artist about the trials and tribulations she’s experienced while being a young maverick in the industry, to which she responded, “I would say being an independent artist comes with restrictions in the way you can make your ideas become a reality when it comes to resources.” She continued, “It can feel lonely and a drudge in the worst moments, but those are the moments I try not to dwell on.” Keeping your circle full of those whose energies rejuvenate and inspire is of the utmost importance to help stave off the looming malefactor for any creative– burnout. “I’ve found that by surrounding myself with artists of all mediums that I respect and admire, we as a community can create some really beautiful stuff that we can showcase and be proud of.” She continued, “I think it’s so important to build up and support the creatives around you— I mean some of my favorite artists are also my closest friends. I look forward to watching them grow and pursue their art and hopefully grow alongside them.”

The young artist has much more in store for the future– in addition to an upcoming stand-alone single, “Pocket Knife,” Bea Bitter is currently working with Max Colbert crafting and formulating her debut EP, aptly named The Lull Before the End of the World.

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Charlotte Day Wilson’s Sad Girl Summer

Charlotte Day Wilson has somehow managed to acquire the coveted recipe for sonic success, consisting of the following compounded elements: the emotive prose of a celebrated folk songwriter, unique vocal capabilities– unobtainable by us mere peasants– and equal parts both heart and soul. Whether the artist made a deal with the devil in exchange for her creative gifts is yet to be determined; Wilson steers her metaphorical wagon down her own musical lane, taking alternative routes to the final destination: The Feels. In this week’s continuation of Sad Girl Summer, we’re covering Wilson’s most recent release, a transcendental single two-pack: “Take Care Of You” and “Summertime.”

Produced by Wilson and Jack Ro, the singles are an auditory expedition, with whispering acoustic instrumentation progressing into layered and augmented swells. On “Take Care Of You,” Wilson is joined by Syd, best known as the front-person for R&B collective, The Internet. The song is a sobering plea for vulnerability and trust, a delicate topic to broach with any relationship flight risk.

Wilson balances coping with the detachment from a romantic partner and welcoming the almighty villains of interpersonal relationships: time and distance with “Summertime.” The track gives us a sample tasting of the specific breed of confusion often only found in love, leaving us in a mental fog long after the song’s breathy outro. The track is short, coming in at two minutes and thirty-two seconds, and begs to be repeated.

With a catalog chalked full of collaborative efforts with the likes of Daniel Caesar, BADBADNOTGOOD, and KAYTRANADA, the vocalist surpasses others in the game with a trained yet subdued passion and funereal gloominess. The singles come almost a full year after Wilson’s 2019 single, soulful and somber “Mountains,” which continues to be in TGG’s regular rotation. The artist has yet to release a full-length, so here’s hoping this dual drop is foreshadowing the artist’s album debut.

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Interviews Reviews

Finding Paradise with Whesli

“‘Lost In Paradise’ was a specific vibe we produced based on the song I wrote about my life and experiences recently– feeling unsure about my future and not really enjoying myself in the city I live in.”

From Tulsa, OK, Whesli was met with a cultural shift when she moved to Los Angeles to pursue music. The independent songwriter released her soulful single, “Lost In Paradise” in June. The track is a wake-up call, with somber lyrics like “Guess I’m swimming in a shallow ocean/ My comfort don’t comfort me” and upbeat production converging to create a very specific breed of song– the type of song fit for your early morning drive to a new job on a beautiful summer morning, only to be met with stop-and-go traffic. Hopeful but anxious.

“I write about experiences that are very personal and real to me, mostly as a therapeutic way of dealing with my emotions, but also on the off chance that someone might be able to relate to what I’m saying and not feel so alone with their emotions.”

Sometimes, we miss something we never really had; the record’s homesick feeling isn’t directed towards Whesli’s hometown so much as a home she’s yet to find. When asked where the longing for familiarity on “Lost In Paradise” stems from, the songwriter told The Greater Good, “I wouldn’t even say that the song is about missing my ‘home,’ because sometimes I don’t even know where that is. But it’s just feeling like where you are right now isn’t ‘it.’ Just waking up and not remembering why you’re doing what you’re doing, in a place that can feel really cold at times, just feeling unsure about everything.”

The artist announced the single’s release on Instagram, crediting the likes of audio engineer Damien Lewis and producer Daniel Perback.

The record’s production is atmospheric of Sad Girl Summer. “We wanted it to have these warm vibes that reflect a lot of Los Angeles mixed with this underlying coldness and uncertainty a lot of people have living in big cities,” Whesli explains, “You’re around a lot of people but can still feel alone. And I had this feeling and idea for the song for a while, the verse and the chorus, but the song didn’t really click and come together until a pretty dramatic event made me almost lose somebody,” she continues, “which made everything else feel pretty insignificant in comparison to having this person in my life. That’s when I finished the pre-chorus, which basically is saying, all these other things in life are great and can be fun and all, but what really matters is you.”

Growing up as a preacher’s daughter, Whesli has always found herself around music. The artist spoke of her journey to her sound, saying, “I basically just fell in love with all kinds of music and digested any and all music that spoke to me. From there, the natural step was to pick up a guitar and try to see if I could imitate what I heard. And not long after, the music became an escape and a way for me to express my emotions and what was on my mind.” The artist picked up that guitar and performed a particularly lovely rendition of The Beatles’s “Blackbird” for her Youtube channel in 2015.

Whesli describes herself as “free spirited when it comes to my art. My journey, like many others, has consisted of highs and lows– trying to figure myself and my music out, but I feel very positive about where I’m heading.” We feel very positive about where this insightful songwriter is headed, too.

Listen to “Lost In Paradise” now and keep your peepers peeled for Whesli in the future.

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Astral Projection with Ellie Dixon

UK artist Ellie Dixon routes our journey to infinity and beyond with the her newest single, “Space Out.” This alt-pop certified banger hones in on the fine line between reality and fantasy. In addition to lyrical witticism, the DIY artist takes quirky craftsmanship to the next level, planting “sample easter eggs” throughout her production, collecting sounds from glass jars and microwave doors, among other things. If Marina and Still Woozy were to unite in creative collaboration, that brainchild would look a lot like Ellie Dixon’s “Space Out.”

In an email to The Greater Good, the artist recounted her experience with writing the song, which is jam-packed with interstellar wordplay: “It was an unusual writing process for me because I don’t tend to write in stages, but this song was born out of a verse I wrote for a music challenge at the start of lockdown.”

“I had a really good response to the lyrics and the flow of it and lots of people asked for me to release it, so I got to work on producing a backing and writing the rest of the song.”

It’s important to have an active imagination and to connect with your inner child as often as the opportunity presents itself, as without imagination, we would have no innovation. Dixon clarifies, “The term ‘spaced out’ can mean a lot of things for different people but for me it was more about when I get lost in my music-making and retreat into my own galaxy,” Dixon says, “This state of two halves where you feel detached but also find great creativity and fun can be born out of it.”

The artist continues, touching on the hidden blessing of being a creative with nothing but time on her hands, “In lockdown, I’ve been making music 24/7 as I’ve had no other commitments, so it’s been an excuse to constantly make content. It has been amazing because it’s a free pass to do what I love, but it can become all-consuming and I forget to ‘come back down to Earth’ which can result in burnout.”

The 21-year old self-managed artist isn’t in any rush to put out a full-length at the moment; she’s planning to utilize this time to craft her individual sound, saying, “I would love to release a full album but I’m currently playing with where my sound is taking me. I’m going to be working on lots of new material and I’m working on more collaborations with other artists, so if things start shaping up into cohesive projects then album ahoy!”

For now, you can unleash your inner child and tap into your own imagination with “Space Out!

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Cat Ryan – Blessed Through the TV

Newcastle-based alt-rock group, Cat Ryan released their single “Blessed Through the TV” last month. The track is an anomaly– a wonder-cluster of insightful lyricism in marriage with contemporary grittiness and Japanese orchestration.

The track’s lyrics focus on a one-foot-in, one-foot-out mentality. The group’s front-woman, Mary-Anne Murphy, spoke about the inspiration for the track– an angel figurine sent to her by her aunt– saying, “The Pope had done a mass blessing through the television, telling people to hold items up to the TV to be blessed. It didn’t quite make sense to me; it was almost a half-hearted blessing, and this sparked the ideas behind the song.”

Cat Ryan can be best described as neo-90s alternative rock. “Alternative” is somewhat of a broad term that often refers to music created outside of industry norms. Cat Ryan is alternative in the way that they’re able to capture and utilize experimental aspects of sound and fuse those findings together to create something out of the ordinary. This, in conjunction with well-rounded yet complex lyrical themes, is what sets this group apart. While sustaining independent ingenuity, the group draws inspiration from the likes of Wolf Alice and Vampire Weekend.

Cat Ryan: Simon Tarbox, Mary-Anne Murphy, Lucas Rothwell (Photo: Kristoff Photography)

The creative brainchild of members Simon Tarbox, Lucas Rothwell, and Mary-Anne Murphy, Cat Ryan originated at Newcastle University. The group’s inception, as described by Murphy in an email to The Greater Good, was kismet: “Simon and I are studying the same course and were talking about music. He said he played guitar, but Lucas had already joined as lead guitarist – turned out that Simon also plays drums, so he became the drummer of Cat Ryan.”

According to the band’s manager, Jay Landman, “There are plans to compile both an EP and an album, but these are both in the development stages currently, so another single is most likely to be the next step.” For now, you can bless your ears with “Blessed Through the TV.”

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Lighter – Donna Missal

For Donna Missal, music was a generational inheritance; her father was a songwriter and musician who owned Shelter Studios in the 80s, her grandmother was also a songwriter. Missal released her second album, Lighter with Harvest Records, owned by Capitol Music Group, at midnight last night. Lighter follows the artist’s 2018 album, This Time. With Lighter, Missal walks us through her journey with a traumatic breakup. In an interview with Shania Twain (!) for Interview Magazine, Missal spoke about the album, saying, “I was concerned when I was writing the record, getting towards the end of the process thinking, ‘Is this what people need right now? Am I serving a purpose that I can stand behind?’ I realized that by being as vulnerable and honest as possible and putting my shit out there—that would probably be what someone needs more than anything else that I could offer as a person or as an artist.”

As we jump into Lighter, we’re met with the project’s first two singles, “How Does It Feel,” and “Hurt By You.” Both tracks give you a feel for what you’re to expect as the album continues: impassioned realizations of newfound independence and loss combined with vengeful lyricism and themes.

I’m sure we’re all familiar with just how ugly breakups can be; it can be hard to maintain humility or dignity after ending things, as jealousy, unaddressed trauma, and feelings of abandonment or guilt rise to the surface. On the booming ballad, “Carefully,” Missal makes an emotional plea for respect post-breakup. The artist belts with an overwhelming amount of fervor on the bridge, “The risk you convinced me to take / Gave you everything that I had / Now what’d you expect me to say? / When you let me slip from your hands,” bearing her bleeding heart for all to see. All I can really say about this song is “whew.”

On Lighter, we’re really being taken through the different stages of grief with tracks fueled by denial like “Best Friend,” and bargaining with “Who Loves You,” intertwined with tracks of acceptance, like heart-rending “Slow Motion.” The artist, with her heart on her sleeve, proves there’s beauty in vulnerability and the acknowledgement of human flaw.

Another stage of grief is anger, and let me tell you, there is plenty to spare on this record. The introspective and painfully cognizant “Let You Let Me Down” and the intrepid sleeper hit “Just Like You,” are jaded displays of the bitter aftertaste a traumatic breakup can leave behind.

The project ends on a “to be continued,” as Missal’s grief persists with an admission of fear of moving on with the final track, “I’m Not Ready.”

To be quite honest, you don’t feel much lighter after listening to Lighter, so I would recommend checking your own emotional stability before jumping in the passenger seat of Donna Missal’s wild ride. Lighter is an exhibition of raw vulnerability while mourning a loss, and ultimately highlights the ways in which music can ease the healing process. 7/10

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The Bad Days – Japan, Man

Public pools may be closed, but we’re diving right into Sad Girl Summer with today’s review– The Bad Days, an EP by 15-year old Beirut artist Japan, Man. With The Bad Days, the young artist gives new meaning to the phrase “off the beaten path,” delightfully offbeat, in fact. Released with the help of Honeymoon Records, this EP is a charming look into the mind of a young artist in her formative years.

The project fires off with the title track, which the artist described to Read Dork as being about “how people tend to try to forget about traumatic memories through different ways; for instance, living in their imagination or even distracting themselves with other intense feelings.” The track can be compared to that little voice in the back of your head, this time crooning in your ear with a ((gentle echo)) over a heart-thumping bass drum on the second verse, “Let’s pretend to fall asleep/ So we can live in eternal fantasy/ Have we drowned yet?/ ‘Cause I can barely breathe/ Is it possible to suffocate on dreams?

With the second track, the artist flexes her metaphorical muscles– with lots of actual metaphors. Corresponding with the face of a clock, “Stop Staring” addresses the passing of time and how time doesn’t stop even if you do. As a society that often values productivity over quality of life, the passing of time can indeed be quite anxiety-inducing– “I’m stuck in the moment, and suddenly I’m frozen/ What am I to do?/ If I tell you that’s the motion, but I smell the scent of roses / But that’s who?” The track should remind us that it’s perfectly acceptable– and encouraged– to take a break when needed.

It’s evident the concept of time and the anxiety it can bring are recurring themes throughout this project as we transition into the third track on the EP, “I Like To Wait.” This track will put you in front of a bay window on a rainy day, ready to embrace the angst with the artist as she sings, “Too scared of surprise/ Won’t dare to roll the dice/ Stay still and pay the price/ Won’t die in paradise.” Impatience can be detrimental to relationships and overall well-being– if we’re constantly thinking about the future, are we ever present?

On the project’s latest single, “Cautious,” the artist makes a plea for emotional intelligence in interpersonal relationships. Whether it be in adolescence or adulthood, we all so desperately want to not only be heard but understood. The track is the embodiment of bedroom pop as a genre– slight dissonance over particularly spunky instrumentals.

Japan, Man tackles “pack mentality” on the next track, “Easy Target,” where she sings in the pre-chorus, “Make sure to keep your mouth shut, it’ll pacify you/ You’re so melodramatic, but there’s nothing I can do.” There’s really no better way to describe this track than a girl coming into her own, sussing out whose friendship and loyalty is circumstantial versus genuine connection.

Perhaps the most poignant song on the EP, the closing track and the project’s first single, “The Law,” gently broaches the battle of maintaining a sense of self when you’re not sure just who that is yet.

The Bad Days is a project that I’d like to imagine Heather Matarazzo’s character in Welcome to the Dollhouse would release if she was in fact not a fictional character of the 90s, but instead an artist in 2020 on a steady incline who was raised by the internet. 7/10

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Elah Hale – Room 206 EP

Elah Hale, 20-year old New York native released her debut EP, Room 206, with Interscope in April. “Room 206 was my sophomore dorm room in college,” the artist said in an interview with DJ Booth, “There were so many moments in that room… I decided to sign my publishing deal; I agreed to work with my management. All the big milestones happened in that room, I wanted to honor that time.”

The project begins on a swell, with “Saab,” which is exactly the kind of song you’re likely to find yourself walking down the street to, with your headphones on and the sun on your face, just to have you reminiscing an experience you might have never even had. The intro is brief– less than two minutes long– but foreshadows the roller coaster ahead of us.

The EP continues the trend on an emotional upswing with the lightest track on the project, “My House.” The artist has said of the track, “It’s the true ‘fun’ song, and I feel like I haven’t done a fun song ever.” Keeping up the fun, the artist released a particularly amusing music video for the track, where she’s seen flirting with a mannequin on a tennis court, clumsily waxing her legs and drinking wine in a bathtub with not a jewel out of place.

The cornerstone to any good project with purpose is its variety and flow, its peaks and valleys; with every optimistic incline, a soul-stirring decline inevitably follows. With Room 206, our decline begins with the poignant “Impatient,” a synth-heavy and somber track on which the artist contemplates clinging to a love with which she’s quickly losing her grip. The misleading sanguine beat in conjunction with impassioned lyrics like, “I’m on my knees, I swear that it’s the right time,” will indeed have you coming back for a second helping of agony.

Room 206 makes the transition from decline to a slow and smooth incline with ease, flowing into the next track, “Posters.” This bedroom-pop track addresses a common practice among daters: ghosting.

The artist’s lane of R&B is that of a melancholy tone; on particularly somber tracks like “one star rating,” “Way Down,” and “Holding You Close,” the artist ruminates on teetering the line between being all in or nothing at all with a diminishing love. On the latter track, over a slow but stimulating beat, the artist solemnly comes to terms with a love lost, manifesting her own healing and declaring her own downfalls. With stunningly interwoven harmonies, she croons, “I think it’s time that I just let you go,” the heavy track ignites a slow burn that lingers long after the song ends. Watch the artist perform the song in an intimate live studio session:

Room 206 ends like it begins–a full circle event– on a sonic incline. Self-reflective “ITPA” drifts into a slow plateau with bittersweet “Gentle,” closing out this project with charm and polish, wrapped in a neat bow. 8/10

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UMI – Introspection

Seattle-born UMI released her second EP, Introspection, at midnight last night with J.J. Abrams’s independent-focused record label, Loud Robot. The 6-track EP comes after her 2019 project, Love Language. Like its predecessor, a visual EP dropped concurrently with the project, which the artist teased on Twitter, three days prior to the EP’s release.

The project was written in the times of isolation, during which the artist also began documenting her journey through “quarantine” in the form of vlogs on her YouTube channel.

Introspection begins with the title track, which was released as the EP’s first single in May. UMI’s hazy vocals over a languid beat prepares us for her insights throughout the EP: “Why I’m so afraid to fight back, I got a lot of shit to unpack,” reminding us that now is a great time to look within. The artist was quoted by Broadway World Music, saying the project is “…a look into my mind, how my brain sounds,” the artist continued, “I created this project with the intention to evoke Introspection, both in myself and in the listener. Introspection is a reflection of my inner journey over the past year, embodying my growth.”

The project continues with the EP’s remorseful second single, “Open Up.” On this track, the artist continues her inward-seeking journey of self-analysis, addressing her own emotional detachment in relationships and the guilt that comes along with prematurely closing a chapter due to fear.

Continuing the theme of mental health, UMI advises overcoming emotional barricades to allow for healthy vulnerability in “Where I Wander.” The artist croons, “No more time to loosen up yourself / No need to keep fighting what you’re dealt / You must take precaution in this Hell.” The track accentuates the importance of facing your fears head on. The following tracks, “Bet” and “Broken Bottles” seem to touch on the detriment of toxic egoism in relationships, romantic and familial.

The 21-year old artist has said she’s drawn heavy inspiration for her music from artists like SZA and Lauryn Hill. Although the derivative is evident, the young artist has managed to hone her own Neo-Soul sound while still paying homage to those who came before her. 8/10

Watch UMI’s Introspection (The Film):