Opening with a towering wall of guitars, ‘Daughter’ immediately pulls you into its world before easing back to place Naz Toorabally’s intense, emotionally charged vocals front and centre. The contrast works beautifully, allowing the song’s vulnerability to breathe before the guitars return in full force during a cathartic chorus. While the band’s gothic-leaning post-punk influences are evident throughout, it’s the balance between power and restraint that makes the track so compelling. Even when the instrumentation swells, Toorabally’s vocal remains impossible to ignore, transforming the chorus into something that feels less like a performance and more like a battle cry.

Speaking about the track, Toorabally explains: “’Daughter’ is about wanting to break the cycle of generational trauma and resist the eldest daughter compulsion to hold our families together, but not being quite ready to let go of control.”

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Produced by the band’s own Ella Patenall, recorded and mixed alongside Tom Hill (GENN, Pollyanna, Knuckledust, I Feel Fine), the new single ‘Daisy Crowns’ highlights the band’s feel for musical beauty and poignant lyricism, capturing a haunting sense of emotion over an understated, restrained and considered instrumental backdrop. Bringing together the band’s shoegaze tendencies, a theatrical flourish through Naz’s vocal delivery and an emotional depth comparable to that of Daughter.

Speaking about the single, Naz explained: “I wrote ‘Daisy Crowns’ in one evening in summer 2024 whilst caring for a loved one who was experiencing a mental health crisis. The song is about feeling burnt out and wanting to return to simpler times. I can’t go back to being a child with no responsibilities, so the chorus is me asking for help from those close to me, which is something I struggle with. I love performing ‘Daisy Crowns’ live as it’s so beautiful when the audience sings with us – it embodies that feeling of being taken care of in hard times.”

Ella adds: “’Daisy Crowns’ is the most delicate and vulnerable track we’ve recorded so far, so it was important to me that the production mirrored that fragility from the first note. We layered the main riff with a cathedral reverb against a drier take, which makes it sound so huge and atmospheric. By the final chorus – with synths, e-bow, stacked guitars and group vocals – it feels expansive but never loses its tenderness. The classical guitar at the end is one of my favourite moments on the track.”

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Blending shoegaze, 90s rock, folk, and post-punk, the single sees Dogviolet return with a fuller, textural sound as they take their production to the next level, building on the backdrop of the intricate melodies and poignant lyricism they’re known for.

Produced by Ella Patenall and recorded by Tom Hill (GENN, Pollyanna) at The Bookhouse Recording Studio, ‘Now’ conjures a dark and dream-like “garden of doom” with its cascading, delay-soaked riffs and rich, haunting vocals underpinned by a solid, understated rhythm section. Building towards a defiant ending, the vocals erupt from being hauntingly delicate to urgent and soaring. As Ella Patenall describes, “Everything, from the floaty riff and layered harmonies to the inclusion of acoustic guitar sections, was about creating this melancholic dreaminess so that by the end, there’s this sense of release and realisation”

Through vivid imagery of an overgrown garden, ‘Now’ explores the feeling of being in a dark headspace filled with memories you can’t move on from and the desire to simply live in the moment. As Naz Toorabally explains, “This song is about feeling so consumed by thoughts of the past and the future that you’re unable to move forward with your life, mentally trapped in a cycle of regret and nostalgia, or a ‘garden of doom’.”

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Formed in 2022 by Naz Toorabally and Ella Patenall, Dogviolet solidified their lineup in 2023 with Lauren Allpress on drums and Brodie McBride on bass. The four-piece has quickly established themselves as a rising force in the underground scene, drawing comparisons to the likes of Warpaint, The Cranberries, and Siouxsie & The Banshees. Their music explores themes of social injustice, community, and personal identity, wrapped in evocative natural imagery.

‘Dandelion’ is a track rooted in resistance, resilience, and the rejection of capitalist productivity culture. Inspired by Magda Nawrocka-Weekes’ pamphlet ‘Be a Weed’, the track likens people to dandelions—undervalued, yet vital to the ecosystem. As Naz Toorabally explains, “Like so-called weeds, people are often judged by their usefulness under capitalism rather than their inherent worth. ‘Dandelion’ is a reminder that we are more than our productivity and a call to come together to build the world we need.”

Produced by Ella Patenall and recorded by Joy Stacey at Goldsmiths Music Studios, ‘Dandelion’ balances gritty, grunge-infused under with delicate atmospheres and a melancholic sense of fragility. Blending shoegaze influenced guitar lines and a tight backdrop of drums and bass, the song has a driving undercurrent that pulls the track forward under the soaring vocal harmonies. Building towards a reflective, dreamlike bridge, the track culminates in a defiant, euphoric finale. As Ella Patenall describes: “This track has a driving, grungy energy, but we wanted to balance that power with moments of delicacy and atmosphere. The whole production was about capturing the contrast in grit and intimacy.”

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