Following a run of standout festival performances across Manhattan at New York City’s New Colossus Festival, Oswald Slain returns with his new single, Heaven Is The Place — a bruised, funny love letter to pub gardens and the small pleasures that keep you upright when everything else feels a little too loud.
Born from the creative cocoon of his home studio in Bristol, Oswald Slain feels like the sound of someone taking stock in real time. There’s personal growth here, sure, but it’s not polished into something neat and motivational. Instead, lyricist Fitz leans into the grit: the chaos of youth, the strange trials of ageing, and the quiet realisation that you can’t outpace yourself forever. What comes through is songwriting that’s sincere without being sentimental — hard-hitting when it needs to be, and disarmingly humorous when the weight threatens to tip the whole thing over.
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That balance has been central to the project’s rise. Since the release of his debut EP Kiss Me On The Mouth in April 2025, Oswald Slain has steadily earned support from a range of music media platforms, building momentum that didn’t just continue — it accelerated. Six months later, in October 2025, he followed with his debut album Bucky, pressed to vinyl and delivered like an open diary: raw, reflective, and unafraid to document self-destruction alongside reinvention. The record helped secure festival slots at Shambala, The Great Estate, Kendal Calling and Wilderness, placing him firmly in front of the kind of crowds that recognise honesty when they hear it.
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Heaven Is The Place carries that same emotional candour, but with a sharper grin. Recorded at Fitz’s DIY home studio with Ryan Rogers (Mumble Tide), mixed by Jon Logan and mastered by Pete Maher (Pixies, Paul Weller, Nick Cave, Jack White), the track turns its gaze to the local pub — not as escapism, but as a kind of sanctuary. Driving drums and soaring soundscapes push the song forward, while heartfelt vocals hold the centre, delivering Fitz’s signature blend of tragic storytelling and evocative humour with the ease of someone who’s lived every line.
In a world that constantly demands bigger, faster, louder, Oswald Slain is making a case for the opposite: the garden bench, the pint, the laugh you didn’t expect to have — and the quiet, stubborn joy of getting through the day.
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Image provided by Memphia Music
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