Much like their recent material, ‘5AM’ pushes deeper into the emotional and political unrest that runs through the band’s forthcoming debut album Selachimorpha, due June 26.

Driven by tense percussion, jagged guitars and a suffocating atmosphere that feels permanently on edge, ‘5AM’ channels rage, exhaustion and grief into something deeply visceral. The track confronts the lasting trauma of assault and the systemic failures surrounding it, refusing to soften its message or dilute its anger.

“’5AM’ is a visceral account of the suffocating feelings associated with assault; the loss of hope and aspiration in victims as abusers continue to thrive,” the band explain. “The track calls out the hypocrisy and audacity in calling Ireland a feminist nation while such issues continue to prevail.”

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Racing with a seething, swirling energy and gritty raw emotion, ‘Tamoo Trance’ offers a fierce take down of consumer capitalism and the effect it can have on us if we let it take it hold. With lyrics such as “… don’t go on / don’t get sucked in cause 80% of what you buy goes directly in the bin”, it showcases the band’s ability to combine their trademark playful tongue-in-cheek wit with a voracious sense of rage. Front woman Kerry explains: 

“… (it’s) about noticing how quickly we get entrapped online into spending money, and spending the latest form of currency, our attention, and questioning how to break away from it.  It’s about how horrifying excess is. The fictitious shop, Tamoo, which looks like it should come with a gamblers aware warning sign, stocks everything you’ve never wanted, and it’s not just your money it will cost you being there.”

With perhaps a darker energy than we may be used to from the band, ‘Tamoo Trance’ loses none of The Baby Seals’ empowering, impassioned spirit and heavy fuzz-laden hooks, whilst encouraging us to rally against this definitely fictitious shop and all that it represents.

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Produced by Gilla Band bassist Daniel Fox, new single ‘Can We Talk’ is a screeching cross-examination of cyclical patterns of abuse. Vocalist Lara Minchin’s lyrics are incensed, delivered at times with a wry humour “I love that I can see the rage / Why try to hide it, love?”, but at its core, Adore are demanding, crying out for change.

Speaking more on the song’s inspiration, Lara Minchin said: “‘Can We Talk’ revolves around a pattern of abuse where one is picked up when broken, broken down even farther and is moulded into something subservient, meek and willing to please. There is an awareness that one doesn’t get into these situations from a good start. In my experience there has been something unhealed in me that has made me lean into control in the past.

“It begins with not being allowed to disagree with small things, until dangerous patterns of behaviour come to the front and you are so beaten down and made to feel so worthless that you feel like there is no conceivable way you can leave.

“It’s sort of like a horror film, where the threat is always there; it presents with small poltergeist acts, a glass is smashed, the dog keeps barking at seemingly nothing, until the force gains more and more power as it feeds from your livelihood. It’s only when it gets genuinely frightening that you realise that the threat has always been there.”

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Returning on the heels of their 2021 EP Feral, a 7-song record laced with elements of 90’s alt-rock and soaring, surf-pop vocal harmonies, Cat Valley hits a fresh sonic stride: Their new EP, Bingo Queen, out September 15, digs into hardcore punk’s distorted guitars, bellowing vocals, and driving tempos, as it rages in the face of political oppression and explores themes of trauma, aging, and self-love.

Out today, the penultimate track, ‘My Body’, with its emphatic pro-choice chorus, “My body, my choice,” was written by Flinn within weeks of the Supreme Court’s groundbreaking decision, and captures Flinn and Hegge’s searing vocal delivery, both vulnerable in grief and empowered in rage. Driving guitar and bass and tempo-pushing drums support Flinn’s gut-wrenching lyrics “You say I’m a murderer, a sinner, well then what the fuck are you? Your hands are red with all the blood of all the people who can’t choose” before the band pushes the frantic tempo past its limit into dystopian noise.

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