Olina - By The Book EP (2026) Hi-Res

Artist: Olina
Title: By The Book
Year Of Release: 2026
Label: Independent
Genre: Alternative, Rock
Quality: FLAC (tracks) / FLAC (tracks) 24bit-44.1kHz
Total Time: 17:44
Total Size: 120 / 220 Mb
WebSite: Album Preview
Tracklist: Title: By The Book
Year Of Release: 2026
Label: Independent
Genre: Alternative, Rock
Quality: FLAC (tracks) / FLAC (tracks) 24bit-44.1kHz
Total Time: 17:44
Total Size: 120 / 220 Mb
WebSite: Album Preview
01. Newspaper Smell (3:30)
02. Tug of War (4:09)
03. Smithereens (4:17)
04. sadist (2:43)
05. Let Her Lie (3:10)
Olina is one of those artists whose music is the epitome of the pointlessness of such demarcations, not just moving through many styles across the five songs that make up By The Book but also delivering lyrics which shift effortlessly between sincerity and sarcasm, humour and seriousness, which are pointed, poignant, and poetic at a turn.
If “Newspaper Smell,” a song that explores the strangeness of new surroundings, is a punchy and driven slice of indie, albeit one that makes brilliant use of dynamic range, “Tug of War,” which follows, is forged of folk finesse and ambient sonics.
“Smithereens” seems to take the best of both those styles and merges them into a thing of deftness and drive and delicacy, “Sadist” inhabits a beguiling and dissarming dreamstate, and “Let Her Lie” again, is impossible to put a label on, feeling like the modern successor of the chasson, one that seems to get more coiled and confusing, in a good way, as it goes.
Genres, tags, pigeonholes, labels, and the like are functional handles, but I suggest that anything that can be summed up in one word or phrase probably isn’t doing anything new, which is precisely why Olina and her music so readily defy their application.
If “Newspaper Smell,” a song that explores the strangeness of new surroundings, is a punchy and driven slice of indie, albeit one that makes brilliant use of dynamic range, “Tug of War,” which follows, is forged of folk finesse and ambient sonics.
“Smithereens” seems to take the best of both those styles and merges them into a thing of deftness and drive and delicacy, “Sadist” inhabits a beguiling and dissarming dreamstate, and “Let Her Lie” again, is impossible to put a label on, feeling like the modern successor of the chasson, one that seems to get more coiled and confusing, in a good way, as it goes.
Genres, tags, pigeonholes, labels, and the like are functional handles, but I suggest that anything that can be summed up in one word or phrase probably isn’t doing anything new, which is precisely why Olina and her music so readily defy their application.