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BANOFFEE
shares new
single & video
‘IDIOT

Announces new album
TEARTRACKS
out OCTOBER 8TH

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BANOFFEE // Photo Credit: Phebe Schmidt

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“Beautiful in the most devastating sense of the word”. – PAPER

“Banoffee’s moody style has since evolved into a bouncy, glitched-out brand of “mutantpop” that toes the line between radio accessible melodies and offensive nail-to-chalkboard synth textures–and we mean that in all the best ways” – BILLBOARD

“Banoffee, aka Martha Brown, makes the kind of forward-thinking pop that’s very muchin vogue. With strong aesthetics and an ear for incredibly catchy hooks, there’s noreason she couldn’t occupy the same mainstream lane as Billie Eilish.” – BANDCAMP

“Banoffee expresses her inner turmoil with devastating frankness superimposed oversparkle-driven spot-lit electropop” – NME

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Today, Melbourne artist Banoffee shares the new single ‘Idiot’ and it’s accompanying video directed by Phebe Schmidt. It follows previous single ‘Tapioca Cheeks’ a collaboration with PC Music’s Planet 1999 which PAPER described as “gorgeous and glistening”. Alongside, she announces her sophomore album Teartracks, out October 8th.

Banoffee talks about the ‘Idiot’ video, “Making this video was such a joy. Living out adream I had about trolling tradies was such a fun experience and of course a moment ona love heart bed was crucial. ‘Idiot’ is about needing to stay indoors and be self indulgent, it’s about indulging in brattiness, with the help of my amazing creative team I think we made a version of that that’s really fun”.

The single, a late-album highlight, is an acknowledgement of harm caused underscored by sprightly synths that call back to her breakout debut album , Look At Us Now Dad. That album, which featured collaborations with SOPHIE, Empress Of, Cupcakke, Umru was an uplifting, hopeful journey that celebrates survival in the face of abuse and adversity.Teartracks conversely is the sound of Banoffee steering into the skid: a document of a love going up in flames that doubles as a thrilling, viscerally-felt pop record.

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IDIOT is out now HERE

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Over the past few years, Banoffee has become known for music animated by bright, steely self-possession. Her music addressed heavy topics like heartbreak and intergenerational trauma, yet was held afloat by silver linings and neat endings. It’s anapproach that made the producer, singer and songwriter one of Melbourne’s most beloved pop exports and bolstered her reputation as a smart, incisive writer. But what happens when the silver lining disappears? On Teartracks, Banoffee’s resplendent, heartbroken sophomore record, there’s no clean break—just hard-won truths and bleary-eyed resolutions.

Teartracks is decidedly without precedent in the Banoffee oeuvre and, fittingly, draws inspiration from a moment in her life that, similarly, came as something of a surprise.”This record only could have come after 2020 and 2019, because it really is about a very specific period of my life that swallowed me in. There’s no longterm songs in there about anything from the past or hope for the future. It’s about this one event—this is how I feel.” Teartracks, in other words, is a quintessential, ecstatic breakup record—not a stocktaking of a life, as Banoffee’s 2019 debut Look At Us Now Dad was, but an immersive, often intense vignette. It’s not a tonic for a broken heart, but a companion. Put simply: It’s the kind of breakup record Banoffee might have wanted when experiencing the heartbreak that inspired it.

Presented as a narrative of a breakup, from the dazed, head-over-heels ‘Tapioca Cheeks’ through to ‘Tears’, the record’s clear-eyed, heartracing conclusion, Teartracks revels inthe messy minutiae of a relationship in freefall. ‘Enough’, Banoffee’s take on a countryballad, perfectly captures the deathdrive ecstasy of realizing you have to break up with someone, its pounding refrain of “You don’t love me enough!” wielding catharsis from pain. Amidst the emotional excavation, there’s fun and weirdness, too: ‘illnevergettofuckany1’ deals with the unspoken second part of breakups—realising that you won’t get to have the best sex of your life again. “I wanted the record to track acouple of different emotions,” Banoffee says. “It goes from like, ‘You don’t love meenough’to like, ‘Shit, I’m never gonna have sex like this again’, which is really materialistic and quite funny.” The record ends with ‘Tears’, a reclamation of freedom after being stuckin the vices of heartbreak. It’s a sweet, deeply loving acknowledgement that, in spite of a breakup, some love will always endure: “I’ll hold your hand if you can’t stand,I’ll be your breath when it gets busy in that head,” she sings, “I’m always here.” It’s a patient, nuancedmoment of kindness that’s revealing of the breadth and scope of Teartracks, despite the specificity of its subject matter.

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In contrast to the candy-coated squelch of the acclaimed Look At Us Now Dad, Teartracks takes a spikier, more visceral approach. With its abject scenes of heartbreak and bracing emotional honesty—it’s perpetually tear-stained cheeks—Teartracks required collaborators who could balance emotional rawness with pop sensibility. Banoffee found them in Charles Teiller, of French dreampop band Planet 1999, and young hyperpop upstart Perto, with whom she previously collaborated on“I Miss You”, an emotional forebear to Teartracks. Teiller and Perto have radically different approaches—Teiller’s approach to production heady, analytical and philosophical, Perto’s approach embodied, freewheeling and non-linear—and it was through the connection of this yin and yang, along with the contribution of Banoffee’s old friend and fellow member of Charli XCX’s band Ceci G, that Teartracks found its sound. “It was just really fun working with such different personalities to bring out different parts of songs,” Banoffee says.

In addition to beinga striking sonic and emotional shift, Teartracks is also the first album Banoffee is releasing entirely independently. It’s a change that feels right for a record so defined by idiosyncratic, personal vision. This is an album that embraces not just the lowsof heartbreak, but the highs, too—the strangely giddy thrills and the pure joy of finding yourself again amidst pain. “Teartracks is for people who just want to stay indoors and aren’t really willing to try and be picked up yet,” Banoffee says. “I want people to cry in the car listening to this, driving at night, in the shower—I want someone to think ‘I wantt o feel sad, I’m gonna put on Teartracks’.”

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Single Artwork: Phebe Schmidt

Teartracks
Tracklisting

1.Tapioca Cheeks
2.Enough
3.illnevergettofuckany1
4.I Hate It
5.Idiot
6.Pill
7.Money
8.Something Great
9.Tear

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AMNPLIFY – JC