Track Of The Day: Self Esteem – ‘Rollout’

What happens when one of the UK’s most underrated indie performers decides to go pop? You get Self Esteem. Normally known as Rebecca Lucy Taylor, often with the words “…one half of Slow Club” attached to her name, her latest single ‘Rollout’ is the third official release under the Self Esteem moniker, after the ‘Wrestling’ single and Your Wife EP. The track, much like its predecessors, sees the Notorious RLT take things in an RnB direction with a big influence from American pop acts of the nineties and noughties, at first listen a big step away from her regular gig with the Sheffield duo.

With its snappy snare-heavy percussion, ‘Rollout’ opens insistently, and that’s before its lyrical hook kicks in: “I got one more in me / I got one more in me”, sings Taylor. Promising, but weary, sexual, but resigned, it’s a recurring image throughout the track’s melancholic take on the mature pop of the likes of Aaliyah and Madonna. Taylor’s voice is eerily reminiscent of those artists, especially after ‘Rollout’s first and second choruses, but its bitter yet flirty tone is uniquely hers. The chorus couplet of “What I might have achieved / If I wasn’t trying to please”, with its evocation of ideas unfulfilled and time wasted – trying to satisfy someone unsatisfiable – sounds ever more frustrated with each iteration. Backing up Taylor’s voice are organs, a little fleck of guitar here and there, finger snaps and tambourine. If mournful groove is your thing, it’s here in spades.

Taylor has spoken in interviews about her desire to do something pop for many years, even though she’s generally been associated with indie bands during that time. And yet, just as there’s always been an underlying pop seam in those groups – warped glam rock in Moonlandingz, sophisti-pop with Slow Club – ‘Rollout’ is more than just a stab at conquering the charts. Described by its creator as “a simple bloody break-up song”, its clever use of sparse, multi-tracked vocals and construction of a chorus that’ll stay with you for days, makes ‘Rollout’ something more. Coupled with its slick, stylised and self-aware video, it’s the best thing that Taylor has released under the Self Esteem banner to date. Drink it in, it’ll break your heart, in style.

John McGovern
@etinsuburbiaego

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Track Of The Day: Kiran Leonard (feat. Let’s Eat Grandma) – ‘Legacy Of Neglect’

Following last year’s innovative Derevaun Seraun and its absolutely spellbinding predecessor Grapefruit, Manchester’s Kiran Leonard has returned with news of his upcoming album, Western Culture. Following July’s single ‘Paralysed Force’, he has now shared another enchanting single from the collection, ‘Legacy Of Neglect’.

Featuring backing vocals from Norwich duo Let’s Eat Grandma, ‘Legacy Of Neglect’ is another epic creation from the Manchester artist, coming in at just under nine minutes long. A reflection on culture and history, a twinkling cacophony flows with hauntingly impassioned cries from the young duo in the background, as a racing sense of urgency builds. As soaring layers of musicality are interwoven, the track oozes an emotion-strewn splendour as Leonard showcases his trademark rich, lyrical storytelling.

Fusing together multiple sonic elements alongside immense, whirring hooks and the distinctive visceral power of Leonard’s vocals, ‘Legacy Of Neglect’ builds to an intense climax, emanating a sweeping cinematic majesty that captivates the ears, and doesn’t lose focus for a second.

Of the track, Leonard explains:

“Legacy of Neglect is chiefly about two things. Culture, and the weird dual meaning of the word: how it’s a concept necessarily in constant flux, in dialogue with a rapidly transforming society, yet also one that many people regard as some thing static and possessed, a ‘heritage’ you can draw on when the world seems precarious and alien and antagonistic…Secondly, history and class: bad analyses of terrible socio-political developments from people who should know better, invariably ahistorical, patronising, disingenuous, devoid of empathy, etc. Let it be said that fascism never was, never will be, a popular movement; it has always been a creation and servant of the elite and the privileged.”

Western Culture, the upcoming album from Kiran Leonard, is out 9th November via Moshi Moshi. Catch Kiran Leonard live at the following dates:

21 November – Galway, Roisin Dubh
22 November – Dublin, Whelans
23 November – Limerick, Kasbah Social
4 November – Cork, Cyprus Avenue
26 November – Brighton, Green Door Store
27 November – London, MOTH Club
28 November – Manchester, Soup Kitchen
29 November – Birmingham, Hare & Hounds
30 November – Glasgow, Hug & Pint
1 December – Newcastle, Cumberland Arms
3 December – Norwich, Arts Centre
4 December – Bristol, Rough Trade
5 December – Cardiff Clwb Ifor Bach

Mari Lane
@marimindles 

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Get In Her Ears Live @ The Five Bells, 26.10.18

Friday saw our first night at The Five Bells in New Cross, with an immense – and slightly spooky – line-up of Cryptic Street, HAWXX, Worst Place and Panic Pocket.

First up, we’re treated to luscious indie-pop ditties of duo Panic Pocket.

Next, GIHE faves Worst Place deliver the dreamiest of sets as they launch their new double A side ‘Square Eyes’/’Soak’.

Penultimate band of the night HAWXX blow us all away with their frenzied rock anthems.

All the way from Malta, headliners Cryptic Street blast out their utterly immense, riot grrrl infused sounds, wowing us with their ferocious energy.

Huge thanks to all the bands who played for us on Friday. Our next gig is back at The Finsbury with headliners Sit Down on 9th November.

Photo Credit: Jon Mo / @jonmophoto

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ALBUM: Brix & The Extricated – ‘Breaking State’

Following the success of their debut Part 2 last September, post-punk super-group Brix & The Extricated have just released their new album Breaking State. Having relentlessly toured and performed at numerous festivals over the last year, they’ve now returned with this latest release – pushing sonic boundaries, showcasing their vast artistic intentions and front-woman Brix Smith-Start’s incredible songwriting talent.

An eclectic collection of sounds, Breaking State is introduced to our ears by the sweeping, discordant strings (arranged by Sarah Brandwood-Spencer) and eerie power of opening track ‘Alaska’. As the thunderous bass lines of Steve Hanley kick in, pounding beats provide the backdrop to Smith-Start’s distinctive soaring drawl, which captivates with its immense, ferocious power. Continuing in the same vein, ‘HC’ and ‘Dog Face’ provide perfect blasts of post-punk power, with swirling Fall-reminiscent guitars and spiky bass, alongside gritty vocals and an immediate, frenetic energy.

Combining catchy surf-rock hooks with a raw vocal delivery, lead single ‘Prime Numbers’ “… is about about sacred geometry and mathematics as the language of the universe. Non physical consciousness and chaos magic…”, before we’re greeted by an interlude from the punk-driven force in the two following tracks which signal a slight change in tone. With a sweeping musicality, ‘Heavy Skies’ interweaves layers of strings, guitars and a steady pulse, flowing with twinkling emotion-strewn melodies as it builds to a luscious cinematic soundscape. Likewise, ‘Vanity’ continues with a sparkling splendour, exuding a unique emotive majesty, proving that Smith-Start is certainly no one trick pony.

 

Reviving a classic punk energy and seething passion, tracks such as ‘Sleazebag’ – confronting all those sleazebags in the industry that we’re unfortunately so familiar with -, ‘Going Strong’ and ‘Heavy Crown’ blast out with an in-your-face power and empowering spirit, propelled by Hanley’s trademark immense basslines and Smith-Start’s gritty, snarling vocals.

Closing the album is perhaps the most poignant offering of the lot. Juxtaposing a romanticism of musicality with a forthright bold lyricism – “I will never give up, I will never back down…” -, it’s an utterly empowering end to a fantastic collection from a totally inspirational woman. Oozing a refreshingly raw, honest emotion, it’s a perfectly epic ballad to end the album – a motivational anthem that’ll have you singing along as you get up, ready to face the world, whatever it may throw at you.

Oozing a fresh energy, Breaking State marks Brix Smith-Start out as an artist willing to move with the times and develop her sound. Whilst retaining her reputation as a somewhat legendary musician, as well as a strong female presence in the industry, it’s refreshing to hear that she’s still coming up with new ideas and even drawing influence from some of the exciting young bands around at the moment. A perfect melting pot of genres and inspirations – from riotous punk, to classic rock ‘n’ roll’, and twinkling pop to fresh post-punk -, Breaking State is a simply epic creation, proving that Brix & The Extricated are well and truly back, and cannot be missed.

Breaking State is out now. Catch Brix & The Extricated live at the following dates:

3rd November – Leicester, The Cookie
4th November – Bedford, Esquires
10th November – Hull, The Adelphi
11th November – Liverpool, The Loft Arts Club
16th November – Oxford, The Bullingdon (The Bully)
17th-18th November – Butlins’s, Minehead Shiiiine On Weekender
25th November – Norwich Arts Centre

Mari Lane
@marimindles

Photo Credit: Krista Lynch

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