Internal Working Model – SMALL MUSIC SCENE: ISSUE #4


Liela strikes out of the gates in amazing fashion with Empathy Files, her voice both radiating a lush essence that’s pleasing to the ears and carrying this real serious weight as she reflects on how openly accessible our data and even our inner emotions are in this current technology-enforced state, all while the song sinks in and sticks to you with its calm yet indescribably addictive chorus and a mesmerising ambience.

The energy begins to increase a little in the fluorescently flowing and wonderfully synth-sprinkled Woo, and that goes for Liela’s vocal capacity too, then the shimmering Vanishing Shadows thoroughly encapsulates that uncomfortable sensation of being stuck in a mentally dark place as you’re further fed endless adverse thoughts, and this is where Liela enlists the help of her first guest – the legendary Gary Numan – and just wow, their dual harmonies match up superlatively.

The Wall From The Floor is chillingly quiet to begin with before switching to this remarkably ominous tone which fits well with the scenario of being lost, uncertainty and dragged down by anxiety as you fight hard to be in your ideal place, then Liela flashes back to childhood with Ache In The Middle, and is overcome with regret as she wishes she could make changes to the past, thus creating this effectually sombre and sympathetic number that is doubly boosted by Jehnny Bath joining in with her own heart-tugging chimes.

New Day is another cut that gets the goosebumps materialising, and is immeasurably heartfelt in its encouraging, supportive message as Liela’s puts on her most beautiful vocal display yet. Come And Find Me is pushed by such a satiating, fiercely infectious pelvic-shaking rhythm, and Welcome To It isn’t far off that distinction either, plus the lyrics are great in regard to fighting your demons and striving to detach from them and make that long overdue positive change. Dhani Harrison then makes his presence marvellously felt in the glamorously glittery finale, Love As Hard As You Can, which has you smiling with a newfound inspiriting hope growing inside.

The third album from the London artist is a stellar and fascinating deep dive into one’s self, exploring every last inch of mental and emotional being, honestly shining a light on the suffering faults and hardships, and that desire to escape these poisonous pains, which I can certainly relate to and I’m confident others share the same sentiment, and Liela manifests these experience through an exceptionally gripping and well produced array of songs.


Gigi’s Recovery – SMALL MUSIC SCENE: ISSUE #3


The record opens in a curious and entrancingly dark mood with Existence and how said namesake seems to be fading; setting course for the main theme of the album; before breaking free with Crying and elevating into something with a distinctly stimulating verve, but still retains that warping, rapturous sense of atmosphere while frontman James and both his slick vocals and creative, fixating words take centre stage.

Return My Head definitely kicks up the energy levels and gets a good old catchy beat on the go, while the great lyrics encompass the unbearable amount of negative baggage being carried mentally and trying to become free of the pain, then there’s Ethel which is the most sonically musing cut yet, with very nice riffs, rich bass tones, battering drums, and such strong, sonorous string/electronic mixtures that spark an ominous feeling, all while, once again, the singing drips with vivid emotion.

The definitive keys and chords of The Stars Will Leave Their Stage are so cool and drive the melody and stand out among the rumbling rhythm, and the writing has reams with passion in that battle to at last break free and leave a worthwhile impression, while Belonging is incredibly hushed and haunting; all about publicly expressing the hurt that’s been endured.

The Lie Becomes The Self physically has more meat to it but is equally just as eerie; the lush pianos help in that matter; with that focus on how spending so long being caught in a horrible false state of mind through both self-deprecation and the bad influences of others can manipulate and convince you that this is who you truly are, when in fact nothing could be further from the truth and you’re actually straying from you who genuinely are.

The drumming is on superior tight form in the thrilling A Thousand Lives, plus the guitar flickers and the harmonic hooks are damn infectious, then after that ballistic rush is We Had To Disappear which also has this animated life to it while James continues to impress through his concentrated performance.

Rays of positivity really start to become present in Only Good Things, showcasing that things are beginning to turn around for the better, and you find yourself happy about that fact. This naturally flows through into the captivating title track where that long sought escape into freedom finally comes through, as well reflected in the prosperous manner committed by the band, and afterwards, they cap off well with Exist.

Needless to say that The Murder Capital made quite the newsworthy breakthrough with their debut When I Have Fears back in 2019, establishing the Dublin act rightfully so as the next big thing in post punk, and this sophomore release has firmly verified that matter.

Gigi’s Recovery is a beautifully constructed album pieced together by a range of remarkable numbers that validly chronicle, as the name suggests, the recovery process from the deepest and darkest depths of depression and how the folk you surround yourself with play a major factor in your livelihood, and everything from the lyrics to the performances are exceptionally convincing and legitimate, and it is guaranteed to make a resolutely indelible impact on the audience.