Sunday (1994): The new soundtrack to Girlhood and Growing Up.
Sunday (1994) mysteriously appeared onto the indie music scene a few months back in February with their single ‘Tired Boy’ and are now appearing on Spotify playlists like ‘Hot New Bands’ and ‘The Indie List’. Momentum for the band has only been gained with the release of their debut self-titled EP which consists of six melancholic, part shoegaze, part indie-rock tracks, given to the world on the 3rd of May 2024.
The trio formed when Lee Newell, the guitarist from Slough, and Paige Turner, a Californian lyricist and vocalist, met and bonded over their love of cinema. Instead of just satiating their admiration for cinema by watching films whilst eating popcorn, they decided to form a band to make the tracks that they would want to hear in these movies. They found their drummer, who remains anonymously as ‘X’, and began to turn life experiences into songs that wouldn't be misplaced if it was the soundtrack to a 90’s romance or coming-of-age movie.
Between the compressed drums, the reverb on the guitar and the soft, melancholic vocals, this EP has a sense of distance and obscurity; it is as though it’s surrounded by a sepia-tinted haze. This vintage feel is also encapsulated in the name of and aesthetics of the band: sundays, black and white photography, pining, decades gone by.
Sunday (1994)’s debut EP is comprised of songs about heartbreak, loneliness and longing from a strong female perspective; it is coated in a thick film of girlhood. Turner’s lyrics are honest and relatable, giving voice to the most uncomfortable and painful experiences of being a girl and growing up.
The first track– and their first single– ‘Tired Boy’ explores the experience of feeling unrequited love for someone who doesn't have a positive impact on your life. Despite the object of her desires being a deadbeat man with substance issues and a ‘pigsty’ room, she expresses her frustration that she still can't shake him and would sacrifice anything for him, despite not getting anything in return: ‘I told you / that I would die for you again and again’. It’s the point of view from your friend with the boyfriend who you've said to ‘just dump already’ over again.
This same theme of misguided devotion– a trap you can’t help but fall into when young– appears again in their second release, ‘Stained Glass Window.’ The lyrics to this song are personal yet extremely relatable, speaking to a broader experience: ‘you’re so bad for my health / but I don't want anybody else’.
Turner’s honest lyrics about girlhood seem to be most striking in the EP’s third track, ‘Blonde’. It’s a song about jealousy, heartbreak and a burning desire to change your external appearance in a desperate attempt to feel some sort of change or healing: ‘I’m gonna split my ends / maybe my heart will mend’. Turner’s sincerity shines here, her soft vocals articulate an experience that is more or less a universal feminine experience, but hardly confessed due to envy being seen as shameful.
The EP continues to perfectly describe girlhood with ‘Mascara’, a song which articulates the female experience of drunken nights out with your gal pals, and after one too many wines, the tipsy tears that come with recent heartbreaks. This song is like a conversation with a no-nonsense friend: ‘your boyfriend’s a dick / a face for the radio’. It captures the spirit of devoted female friendships, depicting their unwavering support: ‘when we get home / I’ll sit with you / ‘til you drift away tonight’.
The fifth track, ‘Our Trouble’, stands out from the other tracks on the EP, ditching their shoegaze sound for more of a grungy feel, with dissonant guitar riffs and a sense of distortion. This song shares similarities to Paramore’s early releases, showcasing Sunday (1994)’s ability for a more varied sound.
Sunday (1994) is a great new addition to the indie music scene, bringing back 90’s shoegaze, a sound similar to Cigarettes After Sex, and merging it with raw lyrical talent that is akin to Lana Del Rey and Mitski.