Sunday (1994), a newly formed British-American indie band, released the deluxe version of their debut self-titled EP on Sept. 20, evoking melancholic themes throughout the lyrics accompanied by a cinematic sound.
The dream pop alternative trio, consisting of Paige Turner, Lee Newell and X (an undisclosed drummer), debuted on the internet just nine months ago in February, via their Instagram.
Since then, they have been performing at a couple of spots in the U.S. and London.
Sunday (1994) has attracted a stable following since they were announced as a supporting act in girl in red’s midwest tour segment from Dec. 4-12, according to a Sep. 25 Instagram post.
Girl in red is a queer indie artist who is known for her songs “we fell in love in october” and “i wanna be your girlfriend.”
While the two differ in aesthetic and general sound, it is not surprising that fans of girl in red would fall in love with Sunday (1994).
The EP consists of nine tracks and begins with “Tired Boy,” Sunday (1994)’s first single back in February which details a toxic relationship with a rock band member who is addicted to drugs.
Despite actions that end up hurting them, the partner subjects themself to the relationship, continuing to stay up all night and making risky decisions just for love.
Turner laments in the chorus, “I'm a little bit tired, boy / Get a little bit higher, boy / 'Cause you don't give a shit / And it works so perfect for you/I wish I was more like you.”
These vulnerable lines evoke a sense of relatability for the listener to some experiences with unhealthy relationships. While people may criticize someone for staying within a relationship like the one described, Turner is referring to some of the exact reasons why many people stick around longer than hoped.
In spite of the sorrowful words, the general sonics of the track is along the lines of something I would play on a summer road trip with the windows rolled down.
The second track “Stained Glass Window” is a heart-wrenching song that talks about forbidden love due to religious doctrine.
This sound is reminiscent of The Cure, a rock band from the 1980s known for their song “Just Like Heaven.”
Sunday (1994)’s general aesthetic is black and white cinematic visuals contrasted with a dusty mauve color, religious themes and romanticizing heartbreak.
The lyrics, “I took some pictures / Of me and you and I supеrglued / Them over scriptures / So, I can worship something true” illustrates the type of pain felt in this secret relationship that surpasses religious boundaries.
The bridge in the track is bold and meaningful for those who grew up in Christian backgrounds told to “leave room for Jesus” regarding romantic relationships.
Turner lulls, “Separated by a stained glass window / My tears are coloured rainbow / Nothing can come between us / Not even Jesus.”
In “Blonde,” Turner seeks to physically morph into the girl who her unrequited love interest is involved with.
As someone who had a toxic ex-boyfriend who begged me to dye my hair blonde, this song hits close to home.
“Mascara” and “Our Troubles” continue with the dark, melancholy ballads and indie rock sound.
The sixth track “The Loneliness Of The Long Flight Home” discusses the painful emotions and regrets tied to leaving a toxic partner and the “longing” to return to them.
Turner sings in the second pre-chorus, “If the plane goes down / Before I come back for you / At least I died in a noble way / At least I died for you.”
One of the band’s signature lines, “My head is in the oven” from the bridge, is written on posters at their recent shows and is from the EP’s seventh track “TV Car Chase.”
This is a direct reference to the cause of the famous poet Sylvia Plath’s death on Feb. 11, 1963.
Plath committed suicide after battling depression and mental illness by inhaling gas from an oven which ended her life at age 30, according to The Poetry Foundation.
Perhaps the most famous work of Sylvia Plath is her book “The Bell Jar,” whose cover features some of the same elements found in Sunday (1994)’s visuals, not to mention the poetry.
The first song I listened to a few months ago by Sunday (1994) is the penultimate track on the EP, “Softly” which paints a picture of being figuratively slain by heartbreak and unrequited love.
In the chorus, Turner explicitly sings this imagery, “I've died a thousand times / Watching you leave / It's like my neck to the knife, softly.”
“Blossom” ends the release on a more depressing note with the subject turning to drugs and alcohol to ease the pain of this agony.
While Sunday (1994) may not be everyone’s cup of tea, they are undeniably talented and on the come up in the indie scene and will sooner or later be a chart-topping band.
