Brisbane artist Hannah Karydas announced she’ll be changing her stage name to Eves last week and today she launches this new chapter of her musical career with a brand new track and video.
The track is called Zen and, despite the rapturous response of her recent single Heavy, we reckon this latest track sees her catapult into a whole new dimension of awesomeness.
The clip is a basic affair, the self-made effort showing Karydas being shuffled around a spooky looking car park as the song plays. The tune is catchy and gutsy, reminiscent of some of the great female driven alternative rock of the mid-1990s, but that’s not to say it sounds dated. Its slick production certainly cements it in the here and now.
KARYDAS is 19 years old but she has more ferocity than someone twice her age. A self-professed lover of experiments… She manages to create stories that sound decidedly not of our time, but not of any time really, as they exist on a plane all their own.” -Pigeons and Planes (NY) “I hear an artist that is giving us a small glimpse at her desire to experiment with sound, not just song structures but with the dynamics and atmospheres and moods of her compositions.” -Heavy & Weird “So it’s been about 15 minutes since I’ve found this song, and I’m just sitting here absolutely gobsmacked by the talent on display” -Indie Shuffle “It would be an easy mistake to make to think Hannah must be an established, mid-career songstress when you first hear new single “Heavy.” -hillydilly (vancouver)
For such a small frame, Sky Ferreira has an almighty presence on stage. Walking onto the stage with dark sunglasses, she does little but giggle before she has the front-row of the crowd fawning. Ferreira plays the role of pop star for the outsiders. Her big-label push into the mainstream was a failure, instead it was her own brand of industrial-goth pop delivered via debut LP, Night Time, My Time, which has made her something of a cult favourite.
Ferreira stands and stares down the crowd before launching into opener, Boys. With lyrics straight from a teenage diary, Boys sounds like a deconstructed pop song infiltrated by crunching guitars and gun-shot drums. It was immediately powerful, setting the tone for the rest of the show.
Ain’t Your Right followed in a similar vein, with Ferreira seductively moving to the ground with her mic stand. Such is her charm. Nothing she does is abrasive, rather she pulls you in with the tips of her fingers or a tiny smile through the flicker of lights.