Track Of The Day: Hearts Beating In Time – ‘Simone’s’

In a sweet recipe of floating melodies and twirling lyrics, Berlin’s Hearts Beating In Time brings us her new twinkly single, ‘Simone’s’. With elegant layers of dreamy synths and simple supportive percussion, Rebecca Theuma’s vocals tip-toe across her track in a delicate and inviting way. Simple lyrics that feel like a conversation with a friend invite listeners into close proximity, delivering a safe haven in a perplexing world. Rebecca’s disposition is comforting as she discusses the rotating world around her as she watches the sunrise.

As the track builds, she asks “I wonder if I’ll ever be a happy, perfect person?”, a question many of us ponder in the light of tough times. Against her earnest and worrisome lyrics, Rebecca’s instrumental continues to expand in an optimistic, rose-coloured way. ‘Simone’s’ is a curious reflection, but not one that is weighted in hopelessness. Rich, elongated synth pads never let hope diminish, and as time unravels, the mix feels celebratory of an all encompassing journey. Of the track, Theuma explains:

“This song tells the story of two close friends wandering the streets of their new home; the city of Berlin. They meet at a bar called ‘Simone’s Kleine Kneipe’ and spend the night walking around in the cold, until they can’t go any further and sit on a bench talking about everything and nothing until the sun comes up. The song is a result of this night-long conversation.”

With shades of the likes of LA’s Florist or GIHE fave Deerful in her musicality, Hearts Beating In Time floats in a world that is too immersive to be held to earth, leaving listeners in a welcome dream-pop fantasy. With a retro ’80s electronic tinge present throughout, and a taste of new wave bedroom-pop, Hearts Beating In Time’s ‘Simone’s’ is a ticket to a moment of glittery relief. 

‘Simone’s‘ is out now via Reckless Yes, and is taken from the upcoming album Songs For The Girls, release date tbc.

Jillian Goyeau
@jillybxxn

Photo Credit: Leo Chircop

Get In Her EarsLeave a comment

Five Favourites: Kama Vardi

Having spent a nomadic youth travelling, experimenting and creating, Tel Aviv based artist Kama Vardi has released a stream of solo material to much acclaim, and is now set to release her new album this week.

Showcasing Vardi’s unique sparkling majesty, the collection is filled with a beguiling allure and captivating mysticism as the shimmering splendour of Vardi’s distinctive vocals flows throughout each strikingly beautiful offering.

We think one of the best ways to get to know an artist is by asking what music inspires them or influences their writing. So, we caught up with Kama to discuss the five songs that inspire her the most. Have a read and watch her latest video for ‘The Gate’ below. 

Nina Simone – ‘Stars’ 
My first choice is this brilliant, heart breaking live version of Janis Ian’s song ‘Stars’, performed by Nina Simone. Nina Simone’s life was not a simple one, to put it lightly, and when you listen to her play this song you get it all – you mourn that life of glory with her, you make peace with her pain; you see her as she really is – a true performer. Simone is known for never leaving the stage, not for a moment, and when you watch this show, and you witness her breathtaking personality as it’s showing here, full of kindness and anger, you realise why. 

Syd Barrett – ‘Dark Globe’
Even though I rarely listen to Syd Barrett anymore, I had to put him in this list. Barrett was one of the first artists I ever got deeply into, and definitely the one that influenced me in the most meaningful way. His raw nature and wild, intuitive writing and performance got me from the first second. Barrett is not the relatable kind. He is not Joni Mitchell who wrote all her songs just for you, nor is he Tom Waits who will pull you from your deepest pits with a cuddle. But he will expand your horizons in a very real way, he will put you in a foreign land and stay with you there. This song, also called ‘Wouldn’t You Miss Me?’, is a perfect example of Syd Barrett’s world; a gorgeously hectic, beautifully broken, dazzling world.

Joanna Newsom – ‘Sawdust and Diamonds’
I admit, when I first heard Joanna Newsom I didn’t believe her. All I could hear was squeaks and, despite everyone around me praising it, I just couldn’t buy it. But then I broke up with my then boyfriend and band mate, and something about being twenty and alone cracked me wide open, and I decided to give it another chance. I sat down to listen to her album YS, and when I did I just couldn’t believe I couldn’t hear it before – it was so gorgeous, so profound; I listened to it on repeat for a week, waking up every morning excited to press play again, and when it reached a boiling point I sat down and within one sleepless week wrote my entire first solo album. It’s hard to pick just one song from this album, but ‘Sawdust & Diamonds” is a good one to start with. The words are everything in these songs, so reading them as you listen is very good advice. Here is a quote from that song, for appetite:
“I wasn’t born of a whistle or milked from a thistle at twilight
No; I was all horns and thorns, sprung out fully formed, knock-kneed and upright
So enough of this terror, we deserve to know light
And grow evermore lighter and lighter
You would have seen me through but I could not undo that desire…“

Oren Lavie – ‘Note to Self’
Sometimes you hear a song and you immediately feel so close to the person singing, you’re sure you and them are meant to be, and if you only got to meet each other you’d fall in love, become best friends, live happily ever after. I know that isn’t usually true; it’s disappointing, but artists are often very different on their canvas than in person.
Nevertheless, after I heard Oren Lavie’s ‘Note to Self’ I had to find out. I got his number and asked him out for a drink, and that drink turned into a night of wandering the streets together, which turned into the greatest love of my life to date. Oren Lavie is one of the most exciting, honest and timeless songwriters I know, with a voice so deep and soothing you’re gonna want to forget yourself in his arms every night, which I strongly recommend. 

Tom Waits – ‘Looking For The Heart Of Saturday Night’
When you’re young and seeking adventure, everything means something: the street lights flickering, your cousin calling, your weekly pay – all these things are like clues to help you find it. When you grow up you start filtering, you just can’t afford the waste, you don’t have time. But Tom Waits didn’t write this song when he was seventeen and this agelessness is one of the things I love about him. He could write a convincing fifty year old when he was twenty three, and he can capture this teen spirit as an adult. When I first listened to ‘Looking For The Heart Of Saturday Night’ I was a deeply committed youth participant myself, and I was drawn to this world he described like a moth to the flame. A world that is happening, the real thing. And he helped me up there, and still is. 

Massive thanks to Kama Vardi for sharing her five favourites with us!

Moonticket, the upcoming new album from Kama Vardi, is out 27th November via Bread For Eskimos.

Photo Credit: Goni Riskin

Get In Her EarsLeave a comment

EP: King Hannah – ‘Tell Me Your Mind And I’ll Tell You Mine’

More than three years ago, I saw King Hannah for the first time. Way down on the bill, in a support slot at what, I later found out, was only their third ever gig. Mesmerised, I wrote a live review that termed them “real music for grown-ups”. Fast forward to just a couple of months ago, and they’d signed to the Berlin indie stalwart, City Slang (home of Anna Von Hauswolff, Arcade Fire, Lambchop, and more). That same day, they dropped their first video for the re-issued ‘Crème Brûlée’ and now comes their debut physical release, a six-track EP with a natty special coloured vinyl edition that comes in cream. Along with another video for second single ‘Meal Deal’, the EP’s release finds the band, whose music centres around lead singer Hannah Merrick and guitarist Craig Whittle, in form that’s as stunning as their live set from the days of Summer 2017.

Longer than some albums, calling Tell Me Your Mind And I’ll Tell You Mine an EP is a reflection of King Hannah’s capacity for understatement, with its two singles both more than six minutes, and understandably dominating the record. ‘Crème Brûlée’ is still the standout, for me, despite the band’s insistence that the song really is simply about how much Hannah likes the titular dessert.  It seems likely to have been the song that most prompted the band’s comparisons to Mazzy Star, but there’s also a wry, detached sense of longing in the vocals’ laconic Nico-drawl. Much like the dessert itself, the song’s exterior shell is a thin covering over something far deeper – in this case, Hannah’s lyrics sit on top amongst its opening, but once they drop a little over halfway in, the layers of instrumentation spill out, led by a crooning, carousing, alt.country guitar line courtesy of Craig.  

Either side of ‘Creme Brûlée’ are two tracks that demonstrate opposing sides of King Hannah’s take on the genre. The upbeat ‘Bill Tench’ finds Hannah musing on a possible future life in Paris, but veers more towards mature US alt.rock. There’s a sense of road journeys, with the feel of a car passing distant landscapes, in the taut lines of lead guitar, the acoustic giving pace, and the bass sketching out melodic rhythms. Perhaps the neatest trick of all is the way in which Hannah’s lingering, longing vocals make words rhyme, even when they have no business doing so. 

Penultimate track, ‘The Sea Has Stretch Marks’, is a much sadder, slower number, with more lilting guitars and a semi-spoken section from which the EP takes its title. That being said, there’s a picture painted here too, with the song’s flow of guitars into and out of  electronic reverb mimicking the waves of the sea in its title.

‘Meal Deal’, at some seven and a half minutes, is the more epic of the two singles, combining observational story-telling in its Courtney Barnett-esque lyrics with a sound that’s more reminiscent of The Handsome Family. Underpinned by low-slung bass, and led by twangy acoustic and electric guitar, it’s a song in three parts – which may give some explanation to the ‘sandwich, snack and a drink’ combo referenced by its title. Starting as a light-hearted tale of moving houses and spiders in the bath that need a feed, its meandering style comes to a more dramatic mid-point, at which Hannah’s vocals become doubled and echoey. “I can’t keep a secret”, she intones, as the guitar sounds grow more ominous, before an instrumental two minutes rounds out the track.  

The remaining songs showcase the band’s ability to create atmosphere – opener ‘And Then Out of Nowhere It Rained’ commences the EP, with its sounds of rain and gently strummed guitar that build to something more broodingly oppressive, whilst Hannah’s voice rolls around the track. Closer ‘Reprise (Moving Day)’ embodies the post-rock tendencies that King Hannah flirt with throughout the EP, with a swirl of garbled recorded voice, thudding percussion and a deep bassy electronic sound, followed by a largely instrumental opening two minutes.  It shifts style after that to a single strummed guitar and Hannah repeating the lines “Moving Day will come a little closer / I got some moving for you” before a feedback whine closes things out.  

There was always something real about King Hannah. In the video for ‘Meal Deal’, Merrick stares at herself in the mirror, backstage at Liverpool’s Playhouse Theatre, looking every inch the alt.rock star in the making, like the hybrid offspring of Patti Smith and PJ Harvey. And, with a lead guitarist as gifted as Craig Whittle, steeped in the kind of musicianship that comes from growing up listening to Jackson Browne and Neil Young, she has the perfect foil. Already capable of producing the kind of songs that it takes most acts years to craft, King Hannah might just be about to tell the world what’s on their mind.

Tell Me Your Mind And I’ll Tell You Mine is out now via City Slang Records. And make sure you catch King Hannah taking over our Instagram this Wednesday, 25th November from 6pm!

John McGovern
@etinsuburbiaego

Photo Credit: Lucy Mclachlan

Get In Her EarsLeave a comment

Track Of The Day: Starling – ‘Swoop’

Just like her avian name, rising alt-pop artist Starling comes in for the ‘Swoop’ in her latest single. With a mix of trap bass line, photon blasts, and kitschy instrumental drops, ‘Swoop’ is a dance floor banger for the quirky cool kids. Starling’s sultry and seductive vocals boast pointillistic rhythms and hashtag lyrics about her ambitious nature – she gets what she wants, when she wants.

A soaring alt-pop anthem, filled with Starling’s rich vocals and an instantly catchy and empowering energy, ‘Swoop’ is a guaranteed ear-worm, set to mark Starling out as a definite one to watch. Of the track, she explains:

“Swoop is about being unapologetically focused and owning it. Owning your dream, owning that fear, owning that desire and not holding back your ambition or your individuality. Judgement suffocates. To “swoop” liberates.”

In the accompanying video, a laid back and denim tuxedo wearing Starling explains to us her raison d’être while pastel sweat-suited dancers show off their varied dance skills from popping and locking to jetes. Speaking about the video, she’s said: “I wanted to make a 90s inspired music video on what it is to “own it”. This is what I told the dancers “there is no space for shame or judgement in Starling’s world, it’s time to dance like you are free to be who you really are, to own your quirk”.

‘Swoop’ marks the second piece of new material from Starling’s forthcoming new album To Be Alive, which is due out in the near future. To Be Alive is produced in part by Damian Taylor (Bjork, The Prodigy) and David Kyle Payne (Meghan Trainor, Sigala).

Aisha Kasmir
@aisha_vocal

Get In Her EarsLeave a comment