Horror Movie, an indie-rock and dreampop record that evokes Julee Cruise, Lana Del Rey and Marianne Faithfull, has been an intensive deep-dive into the history and philosophy of the horror genre, and an act of emotional alchemy distilling bipolar disorder and psychosis into something that feels appropriately wide-ranging yet cohesive.

“I confess I wasn’t a big horror nerd before I wrote this album, but after I’d written the title track, I realised I had the beginnings of an album. I spent the next several years educating myself on horror—I did mega-binges of 25 movies in a weekend sometimes, watching giallo, Hammer Horror, 90s slashers, 50s B-movies, and trippy, queer vampire movies from the 70s.”

“The track listing is designed to take you from the edges of the story right into the centre. People with psychosis can seem really normal at first. It starts with a crush, then it descends into something much darker going on. I’m very conscious that I’ve portrayed myself as the villain of my own story, and making this album has been a reckoning with the ways in which I contribute to my own disorder.”

We asked Molly to do an in depth track by track breakdown of Horror Movie for us. Read it below.

Groovy

The album opens with ‘Groovy’—a “psychedelic doo-wop ballad” about wanting someone you know you can’t have, but deciding to enjoy the fantasy of them anyway. ‘Groovy’ is romance with self-awareness. Crushes often come layered with shame, or with a feeling that you don’t have a right to feel the way you do, but here, the desire and fantasy is laid out un-selfconsciously, with several nods to the unreality of it all.

You’ve Been On My Mind

‘You’ve Been On My Mind’—produced almost entirely by Willis herself—arrives as a confession. The stripped-back production, consisting only of synths, some jazzy inversions on electric guitar and layered harmonies as the main vocal is deeply evocative of Lynchian soundtracks and Julee Cruise’s seminal Floating Into The Night. It carries the dreaminess of the opener, with a quieter vulnerability.

In theory, the story could’ve ended here. The truth has been spoken. But, as the album unfolds, it becomes clear that the romance and the fantasy are a red herring. The person who’s been on the narrator’s mind is just a distraction.

Hypocentre

‘Hypocentre’ represents a sharp left turn in the album. The listener has been lured into a false sense of security with soft, dreamy production and here, the alternative, desert rock sound leaps into the world of Horror Movie. Here, the lyrical content shifts to darker, more self-destructive material.

“I’m getting bored now, entertain me” is snarled at the listener, before the chorus talks of “never feeling better” than when isolated and “dying young or living dead”—the first of several obvious nods to famous horror films peppered throughout the album’s lyrics (this time to George A. Romero’s 1968 masterpiece Night of the Living Dead).

The production feels like a mash-up between Khruangbin and a Josh Homme side-project, with a riff that could get indie rock festival crowds chanting under any weather.

Horror Movie

The title track is the transition point between the album’s narrator directing her mania at others and towards her beginning to look inward. In the chorus, she declares that “you scare me more than a horror movie”, but it’s not clear if she’s talking, at this point, towards the lover of the first few songs, or about the face in the mirror.

The song is a mid-tempo indie rock ballad whose production ticks along between organic guitars and drums and tracks that are intentionally designed to sound programmed, before it swells into a guitar solo that feels like you’re being swept up in the fear and fantasy the song discusses. The whole thing feels like teetering on the edge between lucidity and madness, romance and obsession, reality and unreality.

Like A Lady

Every album needs that one song to act as an anthem. On Horror Movie, ‘Like a Lady’ is that song. A searing, satirical, and sad take on experiencing class difference while suffering with mental ill health during the COVID-19 pandemic, ‘Like a Lady’’s verses paint a picture of insecurity and envy. “Why d’you set me up like I’m a joke?” and “I want to be easy to love”. The song speaks of building dreams on fragile foundations, but reaching for the stars anyways, knowing the Earth beneath her could crack.

The chorus erupts into the fantasy itself: if I were privileged, would I have no worries at all? Of course, the thing about envy is that it flattens the subject of that envy to its most simplistic version. There would probably still be worries. But this track is something of a companion piece to ‘Groovy’ in that, for a second, it asks: “Who cares? Let me dream.”.

Older Eyes

‘Older Eyes’ is an abrupt but necessary comedown from the heights of ‘Like a Lady’. The latter’s glittering synths and pounding 80s drums are stripped back to just an acoustic guitar, a vocal, and the occasional glint of piano keys or hum of some strings. ‘Older Eyes’ is a lullaby-of-sorts. It unpacks a relationship that was both formative and toxic, where someone who was supposed to take care of you neglected or betrayed you, and you didn’t even realise until much later. What do you do with that pain then? Is it even worth talking about? The song seems to think not. But its existence seems to disagree.

What Kind Of Woman

With ‘What Kind of Woman’, we get another moment of the pain and darkness fuelling this whole project being directed outward. This time, it’s about gender.

Written in the shadow of a million social and physical media trends asking girls and women which pre-defined archetype of femininity they belong to and many, many years of experiencing and witnessing violence only to be told to cover it up with prettiness, ‘What Kind of Woman’ rages against the entire concept that womanhood can be defined.

The distorted guitars evoke contemporary indie rockers like Blondshell and Mitski, and their forebears Hole, Liz Phair, and the riot grrrl movement, and the vocal is designed to cut right through like a punch, before exploding into a wail: “What kind of woman am I?”. It’s a question no one has an answer to, and this song won’t let you forget it.

I’m A Liar

‘I’m a Liar’ is an interesting follow-up to a song whose central question is: “What kind of woman am I?”. Is ‘I’m a Liar’ the answer?

Maybe. Mostly, it’s a Grouper-inspired ambient indie track about self-reflection and accountability. The lyrics list all the ways a person might contribute to their own downfall, from indulging too many racing thoughts, to doing too many drugs, to believing that new age philosophy alone can rescue you. Like ‘You’ve Been On My Mind’, it feels like a confession, and like the album coming full circle on itself on a much deeper level.

Escape Routes

And, suddenly, after all that… it’s time to party. Horror Movie does its listener the service of not offering any concluding wisdom to the journey they’ve just been on. There are none, and to provide some would be trite. Instead, ‘Escape Routes’ mines italo disco and Prince to ironically celebrate the same escapism that started this whole mess in the first place. Positioned as the final song, it could feel like either self-forgiveness or the cycle starting all over again. Could it possibly be both?

The post TRACK BY TRACK: Horror Movie by Molly Willis appeared first on She Makes Music.

Her sophomore album, RollerCoaster Tycoon, embraces all the chaos that comes with growing up, from burnout and dating to nostalgia, individuality and figuring out what you actually want. Inspired by the game Lea loved as a kid, the record turns life’s inevitable highs and lows – or, in her words, “the coasters burning down and the children throwing up” – into something playful, messy and entirely her own.

Behind all that fluorescent chaos, however, is an artist who has found purpose, confidence and a voice through making music. We caught up with Lea to talk about rediscovering the things that made her feel like herself, protecting her love of creating through burnout, embracing what she really wants, finding the confidence to be heard and creating a live space where everyone else can be themselves too. Read the Q&A below.

For anyone discovering lolitslea for the first time through this interview, how would you describe yourself as an artist and the fluorescent world you’ve created around your music?

“I would describe my art and music as colorful, extroverted, electric, loud, earwormy. Emphasis on the neon in neon pop punk. The world I built around my music has shades of blue and green and takes place in a video game from around 2010. Low-poly, colorful, and a catchy soundtrack.”

Your new album RollerCoaster Tycoon takes its name from an iconic 2000s game, but you’ve also described it as a “way of life”. What does that title say about where you are in your life right now?

“I can’t say it references where I’m at in life, but more so something that describes the general ebb and flow of my life as it is. Growing up playing RollerCoaster Tycoon on my computer as a kid and finding ways to relate it metaphorically to my adult life is ironic and fun. While you can claim “life is a rollercoaster”, I was comparing the coasters burning down and the children throwing up as the relatable part, lol.”

‘BURNOUT!! BURNOUT!!’ tackles the reality of balancing everyday work with trying to build a career in music. How do you protect your love for creating when the pressure to constantly work and keep up can become overwhelming?

“Life is generally overwhelming. I could very much make it easier by quitting the music thing, but considering it’s one of the few things that brings my life purpose, I fear that would only hurt me more than help. Getting to experience pure joy and bliss while on the stage or writing music or meeting fans and making new friends absolutely makes up for the moments that feel too hard. It’s important to remind yourself that balance is healthy. Asking for help is healthy. And it takes sacrifices to follow your dreams.”

‘Summer 09’ looks back at that wonderfully specific period between childhood and growing up. What is it about nostalgia – particularly the music, culture and memories of the 2000s – that you find yourself drawn back to creatively?

“I think part of it was discovering my own individuality and interests. For a long part of my teenage and young adult years, I spent that time following and liking music and styles because other people did. Following trends instead of diving deep into what I really loved. When I was in middle school, I was discovering a style of music and a community I loved and growing up made me lose sight of that a bit. I wanted to be reminded of that individuality and explore it further, so I picked up where I left off in the 2010s and dove right back into what excites me.”

On ‘Tragedy’, you’re looking for genuine connection in a dating culture that can often feel disposable. Do you think writing about what you actually want, rather than what’s considered normal or expected, has become easier as you’ve grown more confident in yourself?

“I think growing up and uhh, let’s say trial and error have helped me get back to the real purpose of what I’m looking for. I tried it, didn’t like it, and am now trying something new! Who knows, maybe I’ll feel differently in a year from now. I do think confidence comes with age. The older I get, the more idgaf.”

Your music embraces the sounds and aesthetics of the pop-punk era while very much creating its own world. How do you draw inspiration from something you grew up loving without simply recreating the past?

“Honestly, this is probably not the “right” answer, but I truly just copy what I love. I think taking inspiration from everything I loved listening to growing up and what I listen to now, along with my own individuality and experience, it comes off as fresh (hopefully). Like a little brewed up concoction, if I may.”

You’ve toured with Diva Bleach and performed everywhere from Emo Nite to shows alongside Taylor Acorn and Games We Play. What does the lolitslea world become when you take it onto the stage, and what do you want people to feel when they’re part of one of your shows?

“Growing up, I was always dismissed when trying to speak up. In class, in circles, in my friend groups. I blamed it on the pitch of my voice being lower. Getting to take this project and my music to the stage gave me a new chance to speak up and be heard. And all I wanted was to create a fun and exciting space to be whatever we all want to be in that moment together during a show. Creating my own music and getting to bring it to a stage gives me an opportunity to share that newfound confidence with everyone and be myself, which is all I can hope is felt around the room, too!”

Finally, RollerCoaster Tycoon seems to embrace all the chaos, highs, lows and contradictions of life. What do you hope people take away from the album once they’ve ridden the whole rollercoaster with you?

“Aww, ridden the whole rollercoaster is such a sweet way of saying that. I lowkey hope people get a little bit of whiplash. Like “omg that was a lot all at once” because I feel like that’s truly what it’s like being around me. But then, they remember how much fun they had in the moment and want to ride again. :)”

The post Getting To Know… lolitslea appeared first on She Makes Music.

At just over two minutes, ‘Turning Red’ is remarkably minimalist. A low, growling bass dominates, revving beneath finger snaps as repetition, texture and attitude take the place of conventional melody. Extra percussion gradually creeps into the arrangement, but Maria Ria leaves plenty of empty space around her detached, sensual vocal. Chopped and fractured into the production, her delivery becomes another rhythmic element, while flashes of Swiss German add another distinctive layer. There are shades of Rosalía in its fearless minimalism and rhythmic experimentation, without feeling derivative.

The repeated ‘baby boom’ refrain eventually takes over almost completely, pushing that rhythmic approach to its logical conclusion. Strange, confident and deliberately sparse, ‘Turning Red’ feels less like Maria Ria cautiously introducing herself and more like stealing the room on arrival.

The post Maria Ria makes a bold first statement on debut single ‘Turning Red’ appeared first on She Makes Music.

Beginning with a simple acoustic guitar riff, ‘Losing Streak’ gradually fills its surroundings with percussion, electric guitar, bass and layered vocal harmonies, blossoming into bright, bouncy indie-pop. Loveland’s crisp, wistful vocal carries just enough playfulness to keep things light, while a seriously catchy chorus and some lovely chord changes add to the song’s easy charm. There’s even a little ’90s alt-rock spirit running through it, recalling Letters To Cleo at their breeziest.

Filmed around Hoboken, New Jersey, the DIY video perfectly captures that same sense of freedom. Loveland wanders through sun-soaked streets carrying flowers, dances through tunnels and sneaks onto a local football field, with grainy VHS-style footage adding to its nostalgic charm. Made with her twin sister while she was on maternity leave, it feels spontaneous, scrappy and wonderfully carefree — two sisters briefly throwing responsibility aside and having fun with whatever the day brings.

The post Best Ex finds a little gold in the mess on ‘Losing Streak’ appeared first on She Makes Music.

Her new album, War On Women; Calling All Good Men, arrives after a transformative period that saw Wicklund reclaim her autonomy and rediscover the joy of songwriting. Raw, defiant and ultimately hopeful, the record gave her somewhere to channel her anger while exploring artistic freedom, oppressive systems of power and the importance of speaking up in the face of injustice.

Now creating entirely on her own terms, Wicklund wants that sense of empowerment to extend beyond herself. From encouraging audiences to recognise their own power to launching The Strawberry Moon Tribune as a space where creativity can be seen and celebrated, this new chapter is as much about connection as it is self-expression. We caught up with Hannah to talk about reclaiming her creative freedom, her relationship with anger, meaningful allyship, the power of performing live and making art that inspires others to take up space. Read the Q&A below.

For anyone discovering Hannah Wicklund for the first time through this interview, how would you describe yourself as an artist and what drives you creatively?

“As an artist, I feel that I am always striving mainly for authenticity. My main motivator creatively is simply to make art that connects with my soul. When I sit down to write a song, it’s a moment of pure expression, not calculation.”

War On Women; Calling All Good Men was born out of an incredibly transformative period in your life and career. You’ve described making the record as rediscovering the pure joy of music – what did finding your way back to that feeling teach you about yourself as an artist?

Honestly, it taught me to not sacrifice autonomy for comfortability. There was a reason my songwriting went into hiding while I was within unsafe circumstances. Reclaiming my freedom as human being directly correlated to the writer’s block being lifted, and I will be striving to stay in this newfound space I have discovered with my songwriting.

You’ve said that the songs became somewhere to “park” your rage, and that the more you wrote, the less angry you became. Has making this album changed your relationship with anger and the way you channel difficult emotions creatively?

“I’ve had a lot to be angry about in my lifetime, to be honest. My music in general has been there for me when processing all of my emotions, but especially anger since I was a little girl. This record had to hold far more than ever before though, and perhaps the greatest lesson it has taught me is how to truly release it. Releasing a record is more than just having people hear your story and your heart, it’s the opportunity to also release whatever power the stories behind the songs may have had over you at the same time.”

After years of navigating an industry that you feel tried to limit your independence, you’ve taken back control of your career and self-produced this record on your own terms. What does artistic freedom mean to you now?

“Artistic freedom is something I have always held close to me, so having such a period of uncertainty of how I could and would proceed was unbearable. I have had such a transformative time in creating this record and the magazine that goes along with it and couldn’t imagine asking men what they think about my ideas ever again…”

The title War On Women; Calling All Good Men feels both confrontational and hopeful. You’ve spoken about wanting men to recognise that women’s issues are society’s issues too – what does meaningful allyship look like to you?

“Allyship looks like speaking up and standing up in the face of abuse and injustice. There is no lack of opportunity in this world to use your voice for something that matters. So often people take the approach of “well that’s not my problem”, and will stand there and watch one human torture another. Whether it’s a passing moment with strangers or spousal abuse that everyone knows is going on, it’s time to be brave and bold in calling out unacceptable behavior.”

Your guitar playing has always been such an important part of your identity as an artist, and you’ve called the solo on ‘Cowards & Kings’ the greatest you’ve ever played. Do you feel differently when you pick up a guitar now compared with when you were making The Prize?

“I don’t feel different, I feel the most myself I’ve ever been. My guitar is an extension of my expression and has always been the most powerful place for me to channel my emotions. The Prize felt a little more constructed and knit-picked, but this record was more of a free- flowing intuition all the way through.”

You’ve spent years performing everywhere from intimate venues to arenas alongside artists like Deep Purple, Yes and Greta Van Fleet. After everything that has changed for you personally and creatively, what do you want people to feel when they experience this new chapter of Hannah Wicklund live?

“I want them to feel inspired. Inspired to be themselves, to stand up for themselves, to champion their fellow humans, and to use their power for good. There is so much each of us have to offer this world, and I only hope to encourage others to reach for their full potential.”

Alongside the album, you’re launching The Strawberry Moon Tribune and bringing other creatives and experts into the world surrounding these songs. What inspired you to expand the project beyond music, and what kind of space do you hope the Tribune can become?

“My greatest hope for the Tribune is that it becomes a treasure chest of good information, creativity and inspiration. The goal in opening this up to submissions is to encourage everyone to see themselves and their art as completely worthy of being seen. If I can offer a platform for people to be witnessed in which they feel like they are part of something bigger, then who knows how they may carry that torch into the world.”

Finally, after an album that begins with War On Women and ends with the hope of Calling All Good Men, what do you hope people carry with them when they reach the other side of the record?

“I hope they reach the other side feeling the weight of my words without being weighed down, and instead feel the courage to confront the societal norms that have allowed stories like mine to exist. My story is not unique, for women and artists have long been under the thumb of oppressive systems of power, but I know that we can and must do better.”

War On Women; Calling All Good Men is out now on digital download, CD and vinyl.

The post Getting To Know… Hannah Wicklund appeared first on She Makes Music.

Musically, ‘Sunsigns’ is dream-pop in all its shimmering glory. Glistening, jangly guitars and gentle tambourine initially surround Fiona’s gorgeous, yearning vocal before driving drums and busy hi-hats sweep everything forward. Her delivery really is propulsive, carrying the song along with the same breathless excitement as its subject. But it’s the chord changes that provide the real magic, bringing little rushes of emotion that perfectly capture those butterflies-in-your-stomach beginnings of falling for someone.

That romantic mysticism spills beautifully into the accompanying video. Inspired by The Love Witch, its rich, retro world finds Fiona applying vivid ’60s-style eye make-up, reading tarot cards by candlelight and cuddling a black cat, while characters from the cards themselves spring to life. Eventually gathering together in one wonderfully theatrical tableau, they turn ‘Sunsigns’ into a playful celebration of looking absolutely everywhere for a sign.

The post Whisper Doll search for a sign on dreamy ‘Sunsigns’ appeared first on She Makes Music.

A classic driving post-punk bassline forms the backbone, joined by angular guitars, flashes of jangly indie-pop and some lovely guitar harmonics through the middle. Despite that melting pot of sounds, ‘Nothing To Teach’ remains wonderfully loose and unbothered, settling into a bouncing groove and largely staying there. Yaël Dekker delivers the lyrics in a dry, conversational deadpan, with just enough of a sneer to sharpen the edges. Call-and-response moments add to the sermon-like quality before the repeated “you have nothing to teach me” drives the message home.

The accompanying video turns that same independent spirit into a charming DIY scrapbook, piecing together grainy handycam footage from touring, recording and life behind the scenes. Full of candid moments and the band generally goofing around, it feels less like a polished promotional video and more like a celebration of The Klittens simply doing things their own way.

The post The Klittens tune out the know-it-alls on ‘Nothing To Teach’ appeared first on She Makes Music.

Born from a twenty-minute jam session, ‘Irene’ retains that instinctive quality throughout. A dark, repetitive riff creeps beneath the track, establishing a murky, doomy psych-rock atmosphere as Kerry’s hushed vocals add to its hypnotic pull. The drums remain restrained for much of the song, allowing repetition and space to do the heavy lifting rather than sheer volume. As ‘Irene’ progresses, cymbal crashes and increasingly ritualistic layers of vocals begin to gather around the central riff, gradually ramping up the tension without breaking its strange spell. As Kerry explains of the band’s increasingly intuitive chemistry, “We’re at a really fun place where we’ve played enough together now to lock in, so we can jam stuff out and it mostly (!) doesn’t sound too shit.”

The homemade video draws that mystical connection to nature even further into focus. Footage of trees, deer and landscapes at dusk is layered with red-lit images of the band swaying and wandering through the woods, giving the whole thing the air of some mysterious woodland ritual. Unnerving, mesmerising and wonderfully unexpected, ‘Irene’ shows just how compelling The Baby Seals can be when they allow themselves to wander off the beaten path.

The post The Baby Seals cast a darker spell on ‘Irene’ appeared first on She Makes Music.

A wiry, angular bassline drives the verses as Gen delivers each line with a sultry, sardonic swagger, before the bass hands over to big, scratchy distorted guitars for a shoutier, instantly catchy indie-rock chorus. Co-written with The Wombats’ Dan Haggis, there’s something of that band’s knack for a killer hook here, albeit delivered with a much rawer edge. A contrasting middle eight strips everything back to synths and Gen’s voice, briefly pulling the track into stranger art-punk territory before one final chorus crashes back in.

It’s playful without becoming novelty and sexy without losing sight of the joke, allowing Gen to perform the larger-than-life persona while simultaneously poking holes in it. Turns out the internet might get the swagger, but real life gets the charity-shop doo dads. Frankly, that sounds like the better deal.

The post Gen and the Degenerates are ‘Hotter On The Internet’ — Apparently appeared first on She Makes Music.

Opening with beautiful, birdsong-like flute, ‘Shape Of A Friend’ settles into a dreamy 80s synth-pop sway, filled with shimmering synths, warm melodies and distinctly retro rhythms. There’s a touch of Fleetwood Mac’s folk-rock sensibility within the melody and even some of Strawberry Switchblade’s whimsical charm, while the instrumentation gives the whole thing a magical quality of its own. Four-part vocals and layered harmonies add further warmth without overwhelming the song, allowing that distinctive flute and glowing synths to remain at its heart.

There’s a slight tint of melancholy beneath all that warmth, but the chorus provides the perfect little lift as responsibilities are cast aside in favour of a simple fuck it, let’s hang out. It’s joyful without becoming overly sentimental: a dreamy ode to the people with whom doing absolutely nothing can somehow feel like everything.

The post Birdvox celebrate the magic of friendship on ‘Shape Of A Friend’ appeared first on She Makes Music.