Just released via Cruel Nature Records, Songe’s debut LP, Daughters, awakens the listener with ambient soundscapes awash with darker noise and haunting folk. This is music for the lost souls, the lovers, and the wood sprites. Elise Price spoke to band members Phoebe and Ëlle to find out more.

It’s difficult to accurately describe the sound of BC,NR to the uninitiated, especially as an unmusical punter, largely because it’s so their own. All I can say is it should be in your ears, because as fast as it is in your ears, it is in your heart.

The life that Wereldwaan embodies is not only right up my street, but it’s inside my home, up the staircase, and currently jumping on my bed. And now Maria Iskariot is rapping hard on the door of your life – let them in!

“We were extremely lucky to be ‘moths’, even if we didn’t use that term at the time – it was a posthumous label. That was the lost era of rock ‘n roll in NYC. That New York will never come back. It wouldn’t be possible today to have the lifestyle we had at the time. No cell phones and no social media made for a more focused, immersive, in-the-moment existence.”

Hypersigil is a wholly cohesive work – no track feels misplaced, each a differently-angled exploration of one electric space, each euphoric in its instrumentation.

It’s just past 8pm on a Thursday and outside the sun is still screamingly bright, but inside Sextile have conjured an instant rave – powered and activated by the crowd’s collective perspiration. It’s apparent that everyone here is experiencing the same joy and release that I am – the sense of community is as palpable as the bass vibration in our chests.

The cover of Pretty, Baby! features a cobalt blue, stencil-like image of a barking, spike-collared Doberman; this blue is used liberally in their other visuals and is a perfect abstract summation of their sound. The shade covers their bright, pop-ish moments and their darker, fuzzier ones, managing to be vibrant and brooding at once, as is this EP.

To rapturous applause, Anika concludes her set with an encore of two older songs. The first is Yoko Ono’s ‘Yang Yang’, a call for revolution and peace. The last is ‘I Go to Sleep’, played on guitar without her bandmates – a lullaby to end the night, she explains. It’s a beautiful rounding-off, sending us off softly into the warm late evening.

‘Infectious’ is perhaps too often used to describe dance music, but in the case of this album, it truly is. Even when played at my place of work, in front of customers, I was unable to resist its viral call to dance. More than aptly named, it’s easy to say yes, please. with gusto to this offering from Sextile, and enjoy every second of its cellular invasion.

The way they have arranged themselves on the ample stage creates a kind of physical spotlight on each member – a halo of space around them. Though this distance isn’t felt in their performance. Like their vocals, their instrumentation is as tenderly interlocked as fingers in held hands.

At one point, he reaches into the belly of the piano with one hand to pluck the strings, whilst the other hand remains on the keys, rippling. The light on the underside of the piano lid exposes these plucked guts to the audience; it’s intimate and deeply connective.

One of the few legible comments I later find in my notebook, written about the night, is ‘GOTH DISCO’, and the capitalization was definitely to communicate my total delight.

Modern Woman transcend genre labelling, and perhaps even comparison. ‘Folk-punk’ suits in the sense that their sonic anarchy is that of the natural world – it is the gracefully interwoven chaoses that grow a forest.