Pixey releases her debut mini-album ‘Dreams, Pains & Paper Planes’
With a charming album consisting of summer anthems, 90s-inspired pop and breakbeat samples, the emerging artist has demonstrated why she is one for the future.
★★★★☆
Photo: Isaac Lamb
Following the uplifting lyricism and punchy, pulsating guitars of Pixey’s EP Sunshine State in 2021, her latest release offers a wider range of what she is capable of, with moments of melancholy and darker lyrics to couple the nostalgic and sunny sounds of her music. The ‘mini-album’ showcases her impressive skills as a producer, having started to learn six years ago. Also having immaculate vocals doesn’t do any harm.
The album begins with Recycled Paper Planes, a track that I would consider nothing short of a ‘summer bop’; beholding elements similar to Happy Monday’s Pills ‘n’ Thrills and Bellyaches. With its irresistible beat layered alongside groove-laden guitar and intricate lyrics that provide a juxtaposition to the upbeat musicality, the album opener starts how the record means to carry on.
The following song and first single released from the album, Come Around (Sunny Day), is a pleasant follow-up with a euphoric chorus’ that is dying to be sung in a live setting. However, don’t let the upbeat-sounding nature (or even title) of this song fool you from anxious lyrics such as “I don’t know how to say it / I can see it in your heart it breaking away”, offering the true nature of this song being about not being able to get your point across to someone when they will not listen to you.
I’m Just High opens up with a single guitar riff tinged with funk that carries on through the track before being coupled with one of Pixey’s signature breakbeat samples and an equally funky bassline. The result is a slick and dreamy psychedelic pop track with lyrics that carry some sass and sincerity.
The fourth track, Kids!, again provides us with an equally euphoric-sounding chorus similar to Come Around (Sunny Day) yet still differentiable in its own right. This time, she offers more emotive lyricism like “Oh kids / What are we good for? / Fuck this / It’s something we never asked for”, showcasing a more existentialist picture. Melody (From You to Me) turns the tempo back up with more funk-laden guitar and bass before Pixey’s vocals shine through in the next track, as the repeating line of the track title So, Just Smile, feels like insight into a personal experience in which you should just hide your feelings and problems with a smile.
The album closes with the despair of Treat Me Right and the thoughtful In My House. The former intertwines the subject matter of a relationship in a state of gloom with beautiful and dream-like guitars and synths. On the other hand, the latter In My House stands out with its melancholic vibe and delicate vocals.
I was lucky enough to see Pixey perform when she supported label mate Alfie Templeman in Manchester and, with this mini-album lasting just under 28 minutes, I can’t wait for her to release a full-length LP and headline her own shows in the future.