March 2020 – Page 9 – Get In Her Ears

Track Of The Day: Fightmilk – ‘I’m Starting To Think You Don’t Even Want To Go To Space’

Fightmilk are back with an electrifying new single ‘I’m Starting To Think You Don’t Even Want To Go To Space’, their first release following Not With That Attitude, released via Reckless Yes in November 2018.

Fightmilk marry an infectious pop melody, crunchy guitars and naturally, a cosmic vibe in this latest release. The track begins with a soaring atmospheric synth, which when accompanied by the jangly, energy-fuelled guitar of the chorus creates plenty of atmosphere, contrary to the title of the song.

Healey’s delicate yet driving bass-line provides a solid backbone for Lily’s catchy vocal to cut through whilst leaving enough room for the punchy, gritty chorus to have a huge impact. The final chorus is pre-empted by a raucous cacophony of ascending noise, leading seemingly to space but giving way one last time for the iconic hook “watching interstellar didn’t make it better” sung with powerful conviction by Lily. The track is a space-age anthem, leaving a real sense of excitement as to where Fightmilk will take us next!

‘I’m Starting To Think You Don’t Even Want To Go To Space’ is released digitally on 20th March via Reckless Yes.

Amber Scott
@izzyoppscott

March 12, 2020March 13, 2020

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LISTEN: Notelle – ‘Come For Me’

Self-described as “nightmare pop”, Nashville-based artist Notelle has shared her latest single, ‘Come For Me’. Released at the beginning of March, the track is a moody, shadowy exploration of old loves and how they posses both the memory and the body.

Inspired by the likes of Nine Inch Nails and Billie Eilish, Notelle blends elements of industrial, pop, and electronic music in order to create her haunting tracks. On ‘Come For Me’, her brooding vocals combine with dense beats and exploratory “left of centre” production to produce a captivating soundscape.

Notelle explains more about the track’s premise: “I have always found the concept of ‘shadows’ fascinating, as they’re quite literally a dark sided piece of you that is intangible, yet always present. It reminded me a lot of the remnants of an old love. They’re there still, but not really. It’s a frightening concept. It’s widely accepted, at this point, that all living things are made up of energy – and I’ve been reading more and more recently about how even after a living thing has left a space, it is possible that their residual energy can linger. You can feel it, even when you’d give anything to erase it. That’s what this song is about; that shadow that haunts you, that memory that overstays it’s welcome, that person whose presence it’s still there long after they’re gone.”

Listen to Notelle’s new track below, and follow her on Facebook and Spotify for more updates.

Photo Credit: @thederricklipschitz

Kate Crudgington
@KCBobCut

March 12, 2020March 14, 2020

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Track Of The Day: CLT DRP – ‘Where The Boys Are’

Having completely blown us away playing for us live last year, Brighton-based CLT DRP have now announced that they will be releasing their debut album in May.

Taken from the album, ‘Where The Boys Are’ oozes the band’s immense raging passion in a seething blast of poignant, swirling electro-punk. An empowering anthem of self-realisation and new found confidence, with its breathtaking power it showcases CLT DRP’s ability to convey a pertinent message within an incredible, raging cacophony. Of the track, front-person Annie Dorrett explains:

“It’s a love song to some of my favourite female artists, a big thank you to my mom for being such a powerhouse and lastly a big f*ck you to all the TERFS out there spreading hate. It’s also just a really playful song to perform with the band, you get a lot of different elements of our sound all jammed into one piece.”

Double A-Side ‘Where The Boys Are’/’Worth It’ is out 18th March. And CLT DRP’s upcoming debut album Without The Eyes is out 15th May via Small Pond Records.

Mari Lane
@marimindles

Photo Credit: Stewart Gardiner

March 11, 2020

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ALBUM: Hilary Woods – ‘Birthmarks’

Both an aural purge of insecurities and a powerful exploration of self-autonomy, multi-instrumentalist Hilary Woods‘ second album Birthmarks is a cohesive set of shadowy soundscapes that smolder with quiet intensity. Darker and sharper in sound compared to her debut album, Colt, the Irish musician has collaborated with Norwegian experimental noise producer & filmmaker Lasse Marhaug for this latest release on Sacred Bones Records.

Recorded over the course of two years between Galway and Oslo whilst Woods was heavily pregnant, Birthmarks feels like her most personal and powerful record to date. Inspired by field recordings, the images from post-war Japanese & wet-plate photography and the secret life of trees, Woods’ far-reaching influences are what make her art so transcendent.

Opener ‘Tongues Of Wild Boar’ is a foggy, captivating exploration of intense discomfort. From its scratchy dense intro, to its gentle blend of orchestral and electronic elements, it’s an intuitive track that scars and soothes in equal measure. “My body knows I can’t make it out” Woods muses on ‘Orange Tree’, tentatively trying to make peace with her physicality and her surroundings. This need to face her inner fears underscores the record, making it an unsettling, but liberating listen.

The tender ‘Through The Dark, Love’ feels like an intuitive guide through an ambiguous, tumultuous relationship, whilst the sparse instrumentation and the rhythmic humming on ‘Lay Bare’ is deeply comforting. The stretched out saxophone sounds, changing tempo and whispered lyrics on ‘Mud and Stones’ showcase the delicacy with which Woods crafts her songs. They all have a confessional, meditative nature, but her ability to switch from gentle to gritty within a few short seconds never fails to impress.

‘The Mouth’ is one of Birthmarks’ boldest tracks. A fleshy, twisted lullaby about personal hesitation, it’s a somber yet powerful listen, laced with melancholy strings, saxophone and distorted drone noises. The denseness of instrumental ‘Cleansing Ritual’ is unexpectedly soothing too. Its layers of drone noises and distortion cauterize the deepest of wounds. The eerie, persistent tapping of one key alongside Woods’ hushed voice on ‘There Is No Moon’ could feel desolate, but instead it feels restless, as if she is keeping herself awake with the urgency of that repeated note.

Though quiet in terms of volume, Birthmarks is an abrasive, primal, charged offering that allows Woods the space to navigate uncertain emotional territory, highlighting her strength and resilience as an artist. Though fueled by uncertainty, it’s a carefully constructed record that provides space for healing and acceptance.

Pre-order Hilary Woods’ new album Birthmarks here (released 13th March via Sacred Bones)