Alongside the album announcement, Anna has debuted the title track ‘Back to Pennsylvania’ today. Written shortly after her move from Brooklyn back into her parents’ home, the song became an emotional catalyst for the rest of the record. What began as a break-up song transformed into something completely different. ‘Back to Pennsylvania’ is a snapshot of the moment Anna began to see a setback as something more promising; a chance to see her flowers truly grow again. “’Back to Pennsylvania’ is a song about growing through pain,” says Anna. “It’s about returning to your roots and reconnecting with yourself when shit hits the fan.” The track marks her third and latest preview of the forthcoming LP, joining the previously released tracks ‘Girl Song’ and ‘Counting’.

Back To Pennsylvania:

1. Counting
2. Back to Pennsylvania
3. Landmine
4. Already Low
5. Clover
6. Pissin’
7. Dying On Your Hill (ft. Deloyd Elze)
8. Girl Song
9. Dead Giveaway
10. Love Me Back

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Now, the duo are officially launching the project and sharing their first single ‘Fully Slow.’ With Sean Sroka (Ten Kills the Pack) on board as a producer, engineering by Graham Walsh (Holy Fuck, Bully, Alvvays) and tracks mixed by Alex Farrar (MJ Lenderman, Soccer Mommy, Angel Olsen).

The track comes from the duo’s self-titled debut, which is also being announced. The album will be released on October 16 on a new label founded by Georgas called Beetle Bomb Records.

‘Fully Slow’ explores the quiet ache of wanting someone who will never want you back—while still building entire fantasies around the possibility, as Heinemann explains: “’Fully Slow’ is about wanting someone who you know deep down will never want you back, but still fantasizing that they do. I’ve always been very prone to pointless intense crushes that remain completely internalized. I can construct a full storyline about what might happen and never do a single thing about it.”

So Faint:

1. Assistant Theme
2. Fully Slow
3. Begin Again
4. Chain Chain Chain
5. Devotion Is A Mess
6. Dreamlike
7. Economist
8. Favourite
9. Temporary Mirror
10. Say The End

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Guitars immediately set things in motion, but it’s the sisters’ brilliant harmonies that give ‘Into The Light’ much of its character. Pure pop-rock from beginning to end, the track steadily grows towards a huge bridge before bursting into a soaring, anthemic chorus where its sense of optimism really takes flight. There’s something wonderfully nostalgic about the whole thing, carrying the emotional immediacy of a teen movie soundtrack without feeling stuck in the past. In fact, ‘Into The Light’ feels tailor-made for that final scene where everything is going to be okay: one last hopeful shot, the chorus soaring in the background and the screen fading to black as the credits begin to roll.

That cinematic quality fits beautifully with a song Record Pink describe as capturing “that bright hope of life”, using its expansive sound to represent the feeling of starting again. There is no need to search too deeply for that sense of renewal either; it’s written into the very fabric of the song, from the uplifting guitars to those increasingly expansive harmonies. ‘Into The Light’ does exactly what its title promises, emerging into the sunshine with arms wide open.

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Woozy, swirling guitars immediately establish the song’s dreamlike atmosphere, while Alice’s understated, hypnotic vocal glides effortlessly through the arrangement, drawing the listener further into its emotional haze. Rather than building towards a dramatic climax, ‘Behind’ remains deliberately restrained, allowing its meditative rhythm and subtle textures to mirror the sensation of a mind caught in an endless spiral.

The accompanying video perfectly reinforces that feeling, with grainy, spinning shots creating a dizzying sense of emotional disorientation. Like the song itself, it isn’t about arriving somewhere new, but about recognising that wherever you go, your thoughts inevitably follow. Thoughtful, immersive and quietly affecting, ‘Behind’ lingers long after its final note.

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Opening with nothing more than Asha’s dreamy vocal and an acoustic guitar, ‘Cool Guy’ immediately draws the listener into its intimate world. As subtle drums gradually join the arrangement, the song steadily gathers momentum, blossoming into a stirring climax without ever losing the tenderness that makes its opening so captivating. While described as alt-country, its sound sits much closer to atmospheric indie folk, allowing its heartfelt songwriting to take centre stage.

There’s a warmth running through ‘Cool Guy’ that lingers long after it ends, conjuring images of open fields bathed in the soft glow of sunset. Gentle, reflective and effortlessly moving, it’s another compelling glimpse into what promises to be a remarkable album.

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Warm, euphoric and effortlessly catchy, ‘Brush My Teeth’ captures the exhilarating feeling of falling for someone who helps you see yourself in a new light. Driven by bright guitars and an uplifting melody, the song balances sweetness with a quietly anthemic quality, building around a chorus that is impossible not to sing along to. There’s an infectious optimism running throughout, making it the kind of track that leaves a smile on your face long after it ends.

At its heart, ‘Brush My Teeth’ is a celebration of self-belief and connection. Through lyrics that explore how love can transform the way we see ourselves, Hallworth captures a feeling that is both deeply personal and universally relatable, turning it into an indie-pop anthem full of heart.

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Raw, vulnerable and unapologetically confessional, ‘This Spell’ thrives on contrast. Soft, minimally arranged verses drift by on dreamy vocal flourishes before giving way to a chorus that lands with real force. The shift in dynamics mirrors the emotional push and pull at the heart of the song, capturing the chaos of overthinking and emotional overwhelm in a way that feels both intimate and relatable.

With its sharp lyricism and cathartic release, ‘This Spell’ is a track that lingers long after it ends. Balancing delicate moments with a truly unforgettable chorus, Dolly Ave transforms personal turmoil into an indie-pop anthem that is as emotionally resonant as it is instantly memorable.

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‘Sudden Death’ is an enveloping musical embrace complete with grit-laced guitars, emotive vocals and enthralling sonics. Rorey confides, “‘Sudden Death’ admits defeat before the game ever begins because I already knew I lost to my feelings for this person. It’s also an innuendo for intense desire that goes far beyond yearning into borderline obsessive memories that held me hostage in the past I projected onto the present.”

‘Sudden Death’ follows ‘Temporary Tragedy’ and ‘Dying Fire’ as the third single to be taken from her highly anticipated forthcoming album Temporary Tragedy.  The artist confides, “The album is essentially about two people who couldn’t make it work no matter how much they loved each other because what they wanted and they needed were at odds. In the end they both got hurt in the face of love never fully realized. It holds space for both peoples’ experience, almost as a shared ache.”

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‘Let’s Make Plans For The Weekend’ is three minutes of disco-infused, classic pop euphoria. Built on a deep bass groove, shimmering synths and chic-inspired guitars, it sits somewhere between the glossy bite of ‘Chewing Gum’-era Annie and the brat energy of countless 90s pop princesses.

Featuring guest vocals from MALKA (Hen Hoose), the track snaps to the beat with playful precision – all butterfly clips, glitter gel and playground mythology – capturing the kind of magnetic, larger-than-life energy you wanted to be part of. It’s a frosted lipstick kiss with smeared mascara: lights flashing, hands in the air, sticky floors, and the promise of escape when Friday finally hits.

Tongue firmly in cheek and glasses raised high, it’s a celebration of late nights, friendship, and the weekly ritual of letting go.

On the song Carla says: “I love this song so much. I knew the album was leaning more guitar indie-pop, but I couldn’t not include this. Me and my friend Pedro Cameron (Man of the Minch) wrote and demoed it in two hours, we’re both massive fans of Kylie Minogue and Girls Aloud. We wanted to write something that celebrates friendship, dancing, and that feeling you chase every weekend after a hard week.”

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“This song is about a characteristically parasitic relationship. About a love, sweet and sticky, attracting ants. It’s about giving as much as you can to someone who willingly takes and takes and then meets your kindness with cruelty. This relationship left me feeling pathetic and empty, embarrassed, and confused, and upset enough to write this song called “stay away!” both a command and a question that dragged on far too long before I finally understood the only way to get out was to cut it off,” marcum says.

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