NINA WINDER-LIND - Wild Love

I won′t die, I won’t die
I won’t give it to you
I will make my own sound
′Cause my arms is my heart
And my heart is the sea
And the sea is so endless
It′s so much bigger than me

Frontwoman of British folk-punk band The New Eves, Swedish cellist and guitarist Nina Winder-Lind carries forward the DIY (Do It Yourself) aesthetic, channeling it into a more intimate and personal songwriting style compared to the one developed with the aforementioned band. The feminist undertones that have helped make her bandmates' path — and sound — so eclectic and recognizable are still present, however.
With her debut EP "The Spirit Is Carnal" (2023), Winder-Lind grapples with a sonic dress that tends more towards caricature than towards enhancing the compositional material. The arrangements, often lukewarm and lacking bite, leave the identity quest of their author still rather unclear.

Made entirely with the contribution of sound engineer and producer Jack Ogborne, an active figure on Bristol's underground scene through his side project Bingo Fury and already a collaborator on "The New Eve is Rising", the studio debut "Wild Love" paints a canvas of countless colors that make up a fascinating portrait of a singer-songwriter with a magnetic voice. The constant use of vibrato — often deliberately pronounced — calls for close listening, one able to pick up on every nuance, as restless as it is personal.

Among the album's finest moments, the triumphant "Girls" traces the musician's subtle unease, alternating vocal vibrato with the near-constant presence of strings. Next comes the individual stream-of-consciousness of "Headfirst", an overwhelming indie-garage rock track that looks to the most visceral PJ Harvey, letting thoughts and impulses pile up on top of each other without ever finding resolution. Toning things down is the intimate, singer-songwriter dimension of "This Is Our Life", a track that softens the impetus of the preceding songs.
Though brief, "HYMN" opens with a disarming fragility reminiscent of Daniel Johnston, enriched however by a fairy-tale touch that vaguely recalls the velvety character of early Joanna Newsom: the melancholic, childlike melody of Francesca Brierley's melodeon gives the track a suspended, timeless quality, which in its coda slips into disorienting weird folk; probably the most mature moment on "Wild Love".

From here the concept broadens out again with "Everything Is About You", a baroque-folk episode in which the horns take on a central role, enriching the structure without weighing it down any further. And just when the album seems set to continue along this chamber-music path, "Love You So" introduces a sudden shift in perspective, closing things out with a playful, irresistible yé-yé imagery.
The art rock of "Foremothers" closes the concept with a bold, incendiary act, bringing the songwriter's narrative journey to completion through an arrangement in constant ascent. Tension builds progressively, until the track turns into a kind of final liberation that crosses the confessional-poetic attitude of Patti Smith, the folk-rock breath of Neil Young and the youthful, unconventional urgency of the Raincoats.

Among the year's surprises, "Wild Love" offers a glimpse of everyday life in which love, far from any rhetoric, seems to know no end: a feeling that endures over time and renews itself in the small gestures of everyday life.

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12/09/2026