White Flowers, the long-running collaboration between Joey Cobb and Katie Drew, exists within what they call “the realm” – a shared creative space, wherein time, rather than being a restrictive force, is fluid and boundless, and music exists as an endless conversation with their past and present selves. Adopting what the band describe as a “sketchbook” approach to writing, White Flowers is the product of a decade’s worth of recordings - snippets nestled away on hard drives, only to truly make sense years later.

On Dreams For Somebody Else, the band expand upon the dark-hued dream pop of their debut, this time channelling the catharsis of dance music via repetitive structures and “sad, euphoric sounds”: a mosaic of soaring choruses swirl around imposing arrays of synths, guitars, and percussion. Drawing inspiration from Annie Ernaux’s The Years, the album delves into themes of isolation, dissociation and identity. “The album has that same feeling of disassociating from your own life, because you’re just blending into everyone else”, the band explains. “There’s a sadness there, because it’s as if you’re looking back on things that happened to you, and they feel like they don’t belong to you anymore”. It’s the dull ache of nostalgia intertwined with a sense of wonder at what could lie ahead - the hopeful optimism and endless loss that defines the human experience. “It’s this idea of identity not being a fixed thing, but something that’s always changing. It’s a fluid thing, similar to time. Things aren’t really fixed, but rather in a constant state of change. It’s important to remember that we’re all going through that.”

TRACK LISTING

1. Spinning
2. Heaven
3. Backseat
4. Tear
5. Lamp
6. Heart Breaks
7. Visual
8. In The Sky
9. Dreams For Somebody Else
10. Thinking Of You

One of the UK’s most exciting new singer-songwriters and multidisciplinary artists, Clara’s evocative debut album ‘Rift’ navigates the fractured environment of the in-between - those liminal spaces exposed between light and dark, growth and remorse, loss and reclamation. It is a record that makes a strong case for hope, those luminescent silver linings in the dark.

Mann’s music reflects the people and places that have shaped and held her - physically, emotionally, and creatively. Raised in the Lot Valley in rural France before moving to the UK for her teens, these formative years provided her with a deep sense of belonging, identity, and growth. Yet, it is in motion, in placelessness, that Mann feels most at home: “Just the sun above me and my keys and my car.” Her new record is a testament to this state of in-betweenness, inviting you to step into a place that has always existed within yourself.

After releasing her second EP ‘Stay Open’ in 2022, the time and space between then and now has culminated in ‘Rift’, Mann’s first album, which vividly gestures toward the fractures and ruptures that define our lives. Yet, it is more than just an album; it captures the journey and strength it takes to look inward and to move forwards through the pain of it all. Its first track, ‘It Only Hurts’, begins in a place of hopelessness, stemming from the loss of a relationship and, in turn, a future. It is a blank space that stretches out before you, where the landscape is torn apart like icebergs cracking and drifting. But hope remains a beacon of light throughout the album, a lighthouse guiding you across tumultuous waters.

Influenced by artists like Jacques Brel, Edith Piaf, Judee Sill, and Tom Waits, Mann has a deep love and care for songwriting. Her lyrics are vivid and visceral, and her approach to songwriting is not one of purging emotions but rather of composting them—digesting life’s experiences and cultivating them into something meaningful, tangible, hopeful. She is also a talented visual artist, and this often plays an integral role in her songwriting process. Using the intricate and sweeping motion of illustrating with ink, charcoal, and sometimes watercolour, she can evoke thoughts and poetry onto the page, offering a way of making sense of things and to communicate in a way that words alone cannot.

For Mann, the album is a tangible expression of her entire world—a snow globe raised in her palms for the world to see, in all its layers and complexities, containing all her love, relationships, memories, and experiences. It is this sheer transparency that has allowed her to relinquish and accept all parts of herself—the guilt, pain, and beauty of it all—like “swallows in the morning air, circling the dam.” Its truthfulness is its strength, not shying away from the painful experiences of life but embracing them as essential to the human experience and as part of our tapestry.

With ‘Rift’, Clara Mann acknowledges the cracks through which both despair and hope can seep. It is a deeply personal record, yet it is universally resonant, holding the mirror up to herself and to the world around her. It is a record that reflects on embracing our fault lines, navigating the ruptures that can erupt from them and moving forwards, in motion, with a renewed sense of self and aliveness. Mann’s debut album, ‘Rift’ is all of her - her past, her present, her emotions, her experiences - and now, it is for you.

TRACK LISTING

Side A:
It Only Hurts 3:14
'Til I Come Around 3:04
Driving Home The Long Way 2:49
Stadiums 3:56
Reasons 2:32

Side B:
Remember Me (Train Song) 3:08
Doubled Over 2:32
Rift 3:15
Oranges 2:52
The Dream 3:37