Review | Prima Queen – The Prize

Label: Submarine Cat Records

By Katie Last

Prima Queen’s debut album, ‘The Prize‘, is a powerful, infectiously evocative album whose intrigue never drops from start to finish. 

Despite ‘The Prize‘ being their first album, Prima Queen, which is formed of band members Louise Macphail and Kristin McFadden, have already built an astonishingly established sound.

Their confidence is clearer than ever in their new record, which follows a string of singles and EPs as well as support slots with Everything Everything, Olivia Dean, Wet Leg, and Whitney.

After making their mark on the indie-rock scene with hit singles including ‘Chew My Cheeks‘ and ‘Back Row,‘ their latest release does not disappoint: a scrapbook of relatability set within a mixture of rock beats and luscious, built-up soundscapes that feel instantaneously raw and comforting. 

Opening track ‘Clickbait (Intro)‘ grows into a scratchy, atmospheric soundscape, with overlaid sounds that offer a seamless transition into ‘Mexico‘. With a tender opening, the track carries an air of nostalgia and grows into its full depth with catchy choruses packed with a punchier beat. Throughout the song, the pair’s harmonies stand out, as do the impressively raw vocals and admirable lyricism.

Next up is title track ‘The Prize‘, which was released as a single in January this year. With a typical Prima Queen sound, the track feels beautifully familiar and anthemic. A sense of empowerment underlies the track, as it speaks back at ‘a narcissistic idiot who took his eyes off the prize’.

‘Oats (Ain’t Gonna Beg)‘ picks up the energy even further. Buzzing with a confident indie-rock sound, the track features witty, angst-dripping lyrics and energetic riffs that make it gloriously infectious.

With a darker, angrier sound, ‘Ugly‘ is a rebellious ballad, an effective punch back that feels intuitively heavy and exhibits Prima Queen’s remarkable rock instincts. It brings a new sound to the album, and when paired with the first, more tender tracks, showcases the duo’s impressive range.

Next track ‘Flying Ant Day‘ further widens this range. With a smooth, carefree sound that feels undeniably summery, the tune can’t help but evoke a satisfyingly contrasting feeling to the track it follows, helping the album oscillate between a vast slathering of emotions that are gloriously different. 

‘Meryl Streep‘ follows, a catchy indie-rock hit that dissects the process of moving on in a relationship, before a new sound is ushered in with ‘Spaceship‘.

As the album’s most pared back song yet, it features brutally honest lyrics painting visceral images, partnered with sombre guitar-heavy backing and stand-out vocals. The track is undoubtedly one of the album’s highlights.

The beat picks up again for ‘Fool‘ and ‘Woman and Child‘, catchier pop-rock hits with infectious choruses and strong beats. The later half of ‘Woman and Child‘ sees the track rise into a busy, punchy moment with layered vocals and a hastened drum beat.

Opening with warped vocals, penultimate track ‘Sunshine Song‘ has a calmer feel. Released as a single in April, the song features repeating vocals that grow to be joined by a nostalgia-imbued piano section, becoming warped at one point before dissolving back into neutrality and coming to a stripped back, steady close. 

Album closer ‘More Credit‘ flaunts Prima Queen’s breezy, acoustic sound and touches on themes of regret and reflection. The addition of violins later in the track, which sit before electric guitar riffs, help boost the track’s nostalgic sound, reinforcing what Prima Queen does best— building enticing, evocative landscapes that establish a sound for every feeling.