"A masterclass in 'dreamy but doomed' indie-pop."
W: Paul Reeves. I: Jussy
Sunday (1994) have always felt like a band caught between time zones and eras. Comprised of Paige Turner, Lee Newell, and drummer Puma, the transatlantic trio has spent the last year perfecting a "dreamy but doomed" aesthetic that leans heavily into 90s cinema and hazy, Lynchian atmospherics. Following a massive 17-date European run supporting The Last Dinner Party, they have now returned to the world of their standout sophomore EP with Devotion (Deluxe), out now via RCA.
The original Devotion was already a masterclass in "sad-girl" indie and British grit, but this expanded version adds three new tracks that bring their pre-debut catalogue to an impressive 18 songs. Recorded in the band’s one-bedroom apartment, the new material captures the exhaustion and epiphany of life on the road, stretching from the rural Cotswolds to the sun-bleached sprawl of California.
The deluxe edition introduces three brand-new songs that serve as a cinematic epilogue to the Devotion era:
‘Shame’: Inspired by the 1994 film Heavenly Creatures, this track is a haunting highlight. Paige Turner’s angelic vocals float over twangy, Cranberries-esque guitars, delivering the biting line: “It’s such a shame / We wanna be lovers / But they want us dead.” It’s Sunday (1994) at their most arresting—combining childlike wonder with unsettling lyrical depth.
‘Darling, I’ve Done This Dance Before’: A late-night reverie sparked by the band’s time touring with a younger crew. It’s a track rooted in introspection, as Turner reflects on the "messy, tender chaos" of past relationships through a lens of newfound maturity.
‘The Fairground’: The project’s ethereal closer. Written after witnessing Oasis’s monumental comeback tour, the song uses gauzy textures and hushed harmonies to navigate the "dizzying carousel" of the music industry.
What makes Sunday (1994) so compelling is their commitment to their own "Manifesto." From shooting exclusively on Super 8 film to their strict "black, white, and crushed pink" colour palette, the band ensures you "listen with your eyes." This deluxe release isn't just a collection of B-sides; it’s a fully realised extension of a world where dark humour and hopeless romanticism collide.
Whether it’s the gut-punch opening of ‘Doomsday’ or the Americana-tinged escape of ‘Silver Ford’, the deluxe edition proves that Sunday (1994) are far more than a viral TikTok trend. They are a band refining their voice in real time, turning the mundane into something majestic.