Aussie Artist Elaskia slows the heart rate and sharpens the truth on “Either Way I Lose.”
Imagine a night surfer reading the tide by moonlight—Elaskia’s “Either Way I Lose” rides that calm, mid-tempo swell, carrying you toward the quiet where honesty finally speaks. Australia’s alt-pop and adult contemporary artisan sketches with tender guitar riffs, then loosens the shoulders with unhurried, chill drums; soon, vapor-soft harmonies arrive to cradle her lead—delicate, raspy, milky in texture. Written with The Rubens and Lola Scott, the track turns the old ache of right person, wrong time into a lucid confession that never begs for pity. Instead, it opens a beautiful safe space and lets the air breathe. The production keeps its cinematic poise without sacrificing human grain; everything feels close, like intimate whispers passed across a pillow that still remembers the heat of yesterday.
That restraint is the seduction. Each phrase glides forward as though painted wet-on-wet, colors blending at the edges—vulnerability and polish finding the same wavelength. You hear why Elaskia’s signature has graced Netflix, Marvel’s Runaways, Dynasty, and Home and Away, and why a Grammy ballot nod and widespread playlist support followed: she can be cinematic without ever sounding manufactured. The chorus doesn’t explode; it blooms, teaching the body to exhale. Moreover, the songwriting disarms with small details, the way timing frays even the truest intent. Listeners don’t merely observe; they inhabit the room, adopting her clarity as a kind of self-care. By the time the final harmonies fade, you’ve learned the paradox the title promises: surrender can be steadying, and losing, this once, feels like choosing peace.
Enjoyed the read? Consider showing your support by leaving a tip for the writer
TRENDING NOW
They say the soul weighs twenty-one grams; Giuseppe Cucé answers by asking how much memory, desire, and regret weigh when they start singing. 21 Grammi is his response—a nine-song indie-pop cycle that treats that old myth not as a scientific claim…
Old bartenders swear the sweetest cocktail always arrives with a sting; Pastels and Jessica Domingo seem to agree, bottling that exact paradox on “Sugar Lychee.” Released via Nettwerk, the collaboration between…
Sparks don’t merely fly here—they organize themselves into a beacon: Seafret has released “Signal Fire,” a Pop Rock / Electro Pop surge that feels engineered to lift a crowded chest and give it air. Serving as a…
Starlight gets re-stitched into velvet circuitry as SNACKTIME releases “God Only Knows (Beach Boys Cover)”, a re-lit classic that slips into their Contemporary R&B / Neo-Soul wardrobe without losing the original’s tender dread. The band refuses museum varnish and…
Brass-tinted thunder and velvet dissent have just been pressed into a single: Olive Jones has released “Kingdom,” a charged new offering that doubles as a flare shot from the horizon…
Pine-scented neon and tour-bus insomnia have just been distilled into song: Trip Carter has released “Green & Red,” the closing ember of his Bassman EP, and it lands like a velvet bruise you can dance with…
New calendars don’t erase old ink; they simply offer a cleaner margin where remorse can learn a different handwriting—and today Jim Gardner has released “Better Man” to write that margin in song. The Dutch-born, Berlin-based singer-songwriter…
Lightning doesn’t ask permission before it redraws the sky; it simply reveals what the dark was hiding. Estella Dawn does something similar on “You Didn’t Text Me,” a chill-yet-epic Alt Pop/Adult Contemporary cut that turns private catastrophe into high-contrast cinema…
Old lacquer cracks don’t ruin the bowl; they reveal the story—and gold can be poured into the fracture until the damage becomes design. KENTON closes his album Sweetmouth with “Let Light In,” a contemporary…
A moth will circle a streetlamp until dawn, not because the light is kind, but because it is magnetic—and Dead Internet, Cam Ezra’s 16-track plunge into electro-rap and cloud rap, behaves with that same hypnotic danger. Ezra’s world is lit by screens, paranoia…