London based, Irish-Puerto Rican/Taíno musician Jæd (pronounced: jade) has released her magisterial, heart-rending new single ‘All Abandon’. The new track follows October’s captivating debut single ‘Vessel List’ – and her contribution to Slow Dance Records’ (Sarah Meth, PVA) compilation album last year.

Bringing to mind diverse artists from Kate Bush and PJ Harvey to St. Vincent, Sinead O’Connor and Fiona Apple, and with influences spanning Death Grips to Cocteau Twins, Jæd (born, Jennifer Evans) has already proved herself to be a shining light on the London live scene, with notable support dates to her name with acts including Goat Girl, Micachu, Agnes Obel, Villagers, amongst others.

Having recently returned from buzzy Irish showcases at Ireland Music Week and Music Cork, latest single ‘All Abandon’ is a poignant and powerful reflection on her emotions during a particularly traumatic period of time. Sonically traversing worlds of alternative indie and complex indie-rock, ‘All Abandon’ is steered by Jæd’s unique vocal delivery and intricately composed guitar work.

Of the new single, Jæd said: “‘All Abandon’ refers to the severance I made with my mother after seeing her last in hospital following years of many overdoses. She died a year and a half later in the same circumstances. I experienced severe mood swings that come through in the lyrics – ‘In within a second, split, feeling of elation expectation – lowered-no hope-lowered-lost’ and I remember, when making new and dear friends around this time, feeling a secret inner tragic war scene – ‘Wince all gross ah, torn sail high’ and again the difficulties that came with the decision I made ‘Feeling you can’t get straight, I prefer a sting instead of dullness lasting’.”

The accompanying video for ‘All Abandon’ was filmed during the government-imposed 1hr outside/exercise time during the UK’s third national lockdown of February 2021, shot as a one-take improvisation.

Of its inspiration, Jæd said: “I saw the movie Beanpole by Kantemir Balagov and related to the dreadful feeling of the film; it’s beautifully shot and at the same time horrific. The scene where Masha gets a sudden nosebleed and stumbles away hunched – I reenacted this walk with my friend James, filming it through hallways and then outside through nearby estates. We thought we were making a lyric video but by the end we were on a main road just off Euston road, when he asked me to move beside these glass windows of a huge office building. You can see the reflected traffic coming back into the city after a time of decongestion during the previous lockdowns from 2020, which had been a brief pause in the suffocation of the city.”