Guide
New York review: Marmozets come roaring back with “New York,” and honestly, it feels like they never left. After eight years away, this Yorkshire quartet manages to bottle up everything that made them special in the first place while pushing into new territory. The track kicks off their upcoming album CO.WAR.DICE., and right from the first listen, you can tell they’ve been soaking up some serious 70s punk vibes.
Song Analysis (New York Review)
There’s a raw, almost CBGB’s era energy running through the whole thing, but they haven’t abandoned the complex time signatures and math rock chaos that made their earlier work so exciting. What strikes me most is how natural it all sounds, like they just plugged in one Friday night and let it rip. That spontaneous energy is all over the recording, and it’s infectious.
The instrumentation here is where things get really interesting. Josh Macintyre is an absolute beast behind the kit, laying down these propulsive, intricate rhythms that somehow feel both technical and completely visceral.
His drumming has always been the backbone of their sound, but on this track he’s hitting with this particular ferocity that reminds you why live drummers still matter. The dual guitar work from Jack Bottomley and Sam Macintyre weaves together beautifully, with jagged riffs that clash and complement each other in equal measure.
They’re using fuzzy, distorted tones that give the whole thing a vintage garage rock feel, but then they’ll throw in these weird reverb soaked passages that keep you on your toes. You can hear influences ranging from The White Stripes to The Cramps, maybe even some DEVO in there, but it never feels derivative. And then there’s Becca Bottomley’s vocals, which are just incredible.
She goes from these sweet melodic lines to full throated screams without missing a beat, channeling everyone from Karen O to Brody Dalle while still sounding completely like herself.
From a technical standpoint, “New York” is deceptively complex. The song shifts between sections in ways that feel organic rather than showy, with time signature changes that you might not even notice on first listen because they just work. The production, handled by Jonathan Gilmore and Andy Hawkins, strikes this perfect balance between polished and raw.
They’ve kept that immediate punk energy while making sure every instrument sits exactly where it needs to be in the mix. The guitars have room to breathe, the drums punch through without overwhelming everything, and Becca’s vocals cut right through the middle of it all. What really sells the track for me is how economical it is. There’s no wasted space, no riff that overstays its welcome. Everything serves the song, which is exactly what good punk should do. After such a long break, this feels like a band that’s figured out exactly who they are and what they want to say.
Marmozets – New York Lyrics
Verse 1
Hotel in Manhattan, hotel in Manhattan
Listening to “Africa” on the radio
Bright red Levi’s, a token to remember
Who I am, who I am when I leave this town?
Phantoms on the street
They’re kicking on my feet
The fake CDs and mini-bars
Yeah, they got me broke
I’m going to the store, 3 a.m. and sore
We’re gonna play a show ’cause we need it
Yeah, we need it
Chorus
One day, two day, maybe three
We’ll carry along till we feel nothing at all
And then we go again
One day, two day, maybe three
I’ve been singing this song, but I feel nothing at all
And then we’ll go again
Verse 2
Hotel in Manhattan, hotel in Manhattan
Listening to “Africa” on the radio
Up waiting for coffee
New York, I chose to party
You ate me up, spat me out, then you made me pay
I will always walk down the street, my friend
Like I own this place
I will always love this sound of being
Sucked into this city
Chorus
One day, two day, maybe three days
We’ll carry along till we feel nothing at all
And then we’ll go again
One day, two day, maybe three
I’ve been singing this song, but I feel nothing at all
And then we’ll go again
Bridge
Clean cut goddess on the moonshine
Her cheek shines brighter
Than the moonlight shines
Clean cut goddess on the moonshine
Her cheek shines brighter
Than the moonlight shines
See ya
Then we all know
How to shine
Dirty bright
Chorus
One day, two day, maybe three
We’ll carry along till we feel nothing
And then we’ll go again
One day, two day, maybe three
I’ve been singing this song, but I feel nothing at all
I feel, I feel, I feel
One day, two day, maybe three
We’ll carry along till we feel nothing
And then we’ll go again
Outro
Clean cut goddess on the moonshine
Her cheek shines brighter
Than the moonlight shines
Clean cut goddess on the moonshine
Her cheek shines brighter
Than the moonlight shines
Clean cut goddess on the moonshine
Her cheek shines bright, shines bright, shines bright
Yeah (uh huh)
Meaning (My Opinion) (New York Review)
These lyrics capture that weird feeling of being constantly on the move, especially in a big city. The way they keep repeating “Hotel in Manhattan” makes everything feel like it’s blurring together. It is like when you’re living out of suitcases and every day starts feeling identical to the last one.
What I love is how they mix in all these small, real details. Late night trips to corner stores, fake CDs someone’s selling on the street, raiding the minibar even though you’re broke. It strips away all the gloss people imagine when they think about touring or living in New York.
Even the bit about listening to “Africa” on the radio feels so specific and personal, like you’re holding onto whatever feels familiar when everything around you is temporary.
There’s this question buried in there too: “Who I am when I leave this town?” That one gets me. It’s like the city and the constant movement start erasing parts of who you used to be.
But then the chorus and bridge reveal something darker underneath all that energy. That line about carrying on “till we feel nothing at all” really stands out. It sounds like they’re running on autopilot, just going through the motions because stopping feels scarier than being numb. Still, there’s something stubborn about it. They keep pushing forward anyway.
The whole “clean cut goddess on the moonshine” part feels dreamy and strange, maybe representing those fleeting moments of beauty or hope that pop up in all the chaos. It’s messy and romantic and kind of reckless, which feels very on brand for Marmozets. Raw feelings wrapped up in noisy, three AM energy.
The song ends up feeling like both a love letter and a complaint about city life. Exhausting and intoxicating at once. The kind of thing that wears you down but you can’t quite bring yourself to leave behind.
Listen To “New York” By Marmozets (New York Review)
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