Arriving as a gentle dose of tranquillity, delicately woven ‘White Linen’ is a touching ode to family. Effortless vocals expand and explore both chosen family and the one we’re born into. Queerness, acceptance and the complexities of love and intergenerational trauma come together in an exquisitely simple yet richly textured folk-song. Austel’s inclusion of field recordings from her parents’ garden in Devon adds a personal and grounding touch to this blissful offering.

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Nostalgic and sun-soaked, ‘Hotel Room Window View’ is a delicate offering that gently builds and blossoms into something beautifully expansive. Originally inspired by a dream, the track is an opportunity to reflect and evoke introspection. Sharing more, Austel explained; “This song is based on a surreal dream. I was trapped in this place I thought I wanted to be – on the surface, it was beautiful, but underneath, the woodwork was rotten, the view not so great, the company even less so.

“I wrote it during the 2020 lockdown when I was back  in Devon – being in my childhood hometown resulted in revisiting lots of forgotten/buried memories, alongside distance from my London life and some of the chaotic relationships I’d been embroiled in. It weaves into memories from being a teenager, early experiences of intimacy that never sat quite right, a loss of innocence, and how echoingly heartbreaking that can be – even years later when you’ve gained some perspective on it all.”

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Facing things head on, ‘30th Day’ sees Austel take back control. Powerful and compelling, the new single is a brooding response to the relentlessness of being drawn to the wrong people.

Sharing more, Austel explained: “’30th Day’ is about feeling tired of being drawn to bad things / people who hurt you. You know it’s a dead end, or a groundhog day of getting your hopes raised that this time it’ll be different, and you’re exhausted by the amount of space it’s taking up in your life.  While the song depicts quite a bleak situation, I think there’s power in naming what is causing you pain or holding you back. Once you see it for what it truly is, you can start to work out a way to overcome.”

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The new single arrives alongside a gorgeously nostalgic music video shot with her brother Louie on Brighton beach on an old camcorder. Sharing more, Austel said: “This song has a very specific sense of place for me, but it’s also about reflection and looking back. So it felt fitting to retrace the steps of the journey within the video.”

Rich, soothing instrumental and meticulous lyricism reflect on the lasting impact that childhood has on our adult relationships. Beautifully cinematic, Austel wrote the track after a fleeting summer romance in Brighton ended amicably but sadly. Sharing more, she said: “I returned to the beach during the winter months (Bon Iver season) and reflected on how our childhood experiences impact how we move through the world. I decided to record the entire journey from Brighton beach to the train station, then the train back to London, on a Zoom recorder.  I wanted to create a memory for people to get lost in for a few minutes – travelling with the song along the beach, on the train. It still evokes a lot of memory – it’s a bit of a time capsule, which I think is the work of the field recordings.”

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Inspired by a love of bands such as Cocteau Twins, The National and Daughter, ‘Beds Of Stone’ fuses wistful piano and ethereal vocals with swirling soundscapes and sonic artefacts.

The single artwork is an image of a salt cave by Colombian visual artist Natalia Giraldo Giraldo.

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Marking a new era in Austel’s sound, ‘Cut Me Down’ features glittery analog synths, dreamy layered vocals and a rhythmic conversation between piano and drums. Austel reflects on ‘love lost and lessons learned’, a relationship that ended before it even began, and the struggle in accepting that the person you wanted was never good for you.

The production process began when Austel met artist, producer and engineer Ruby Smith (aka post-dusk) in London. The pair became fast friends, and continued to work on the song remotely between London and Berlin during the pandemic. Accompanying ‘Cut Me Down’ is the B-Side ‘NYC’ – Austel’s luminous cover of Interpol’s single from their 2002 album Turn On The Bright Lights – self-produced using an old synthesizer and vocal harmonizer.

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