INTERVIEW: Bleach Lab

Released in September 2023, Bleach Lab’s debut album, Lost In A Rush Of Emptiness, is an impressive collection of poignant catharsis, poetic heartache and dreamy textures. Demonstrating a mastery of their shoegaze-inspired ethereal sound, influenced by the likes of Mazzy Star, Cocteau Twins and Stereolab, Bleach Lab feel like a band who are comfortable and vulnerable in their own skin.

When we last caught up with them in 2021, the London and Brighton based four-piece were adapting to rehearsing and performing in person, having formed during the pandemic. In 2024, it’s fair to say much has changed – with numerous celebratory and admiring album reviews under their belt. Having recently completed their European tour, plus their first ever shows in the US, Bleach Lab are in a self- professed “really good place”.

We caught up with vocalist Jenna Kyle and drummer Kieran Weston to talk about the album tour, their experience of recording in pyjamas with Grammy-nominated producer Catherine Marks and their “School of Rock” pre-show ritual…

Hi Jenna and Kieran! Firstly, congratulations on the one-year anniversary of your debut album, Lost In A Rush Of Emptiness. What has the past year looked like for you? What has changed for you since the release?

Kieran: It’s been a year of basically just trying to ‘live’ that album as much as possible – trying to play shows and get the music out there, live. I feel like our songs come to life in a new way live, especially songs like Counting Empties. It’s been important for people to connect with those songs in a live sense. We’ve played some amazing shows like South By South West, we had the album tour as well and played Scala which was insane. So, yeah, a big push on playing live and really letting those songs live. Obviously, it’s been a year, and we wanted to make sure we had a full year for the songs to really ‘live’.

Jenna: Like Kieran says, sitting with it, but also having a focus on what’s next and continuing to write. There’s a crossover of those two, which we’re now doing.

You completed a European tour and played your first show in the US this year. How were those experiences? How did playing in the US compare to playing for home crowds?

Jenna: It was really exciting! I think we were all very apprehensive – obviously it’s the other side of the world, so you don’t really know how you’ll be received. We had quite a lot of fans messaging us to say that they were excited to see us, so we knew there would be a few heads in the crowd. We were very jet-lagged, though, and a little bit… delusional?

Kieran: I would say delusional is actually the right word!

Jenna: We were also only there for around four days. It was actually my first time ever in the US, I had never been on a long-haul flight, so it felt like being in a bit of a
different world.

Kieran: Yeah – four days and four shows, so it was a lot, but it was incredible to be that far away from home and to see people in the crowd singing – that was pretty mega. Quite consistently, too! I don’t think any of those shows were quiet ones, so it was quite mind-blowing to be honest.

That sounds like a whirlwind. I often hear bands talking about having equipment nightmares when moving between playing shows in the UK and the US…

Kieran: You had that Jenna, didn’t you?

Jenna: Yeah, I use in-ear monitors on stage and I thought they had broken during the flight or transport, because they didn’t work at any of the venues. We tried them for the first time at 1am at this quirky dive-bar venue and they just wouldn’t connect, and I just thought ‘shit. Bloody broken them, haven’t I?’ Because I don’t put them in a safe box or anything. All the signals were overlapping, and you couldn’t get the right connection on the box. But we made it work!

Kieran: It was proper band-y. You know – wake up, go to a venue, literally get thrown on stage, perform, get off the stage, and then repeat. Very quickfire. It was pretty cool.

Do you have a pre-show ritual to help with creating some kind of routine?

Jenna: We’re very chilled really, we tend to just have a lot of down-time before shows.

Kieran: Our manager has actually raised with us before, we’re like the most low-energy band before a gig ever! We are very chilled. We do have a few rituals immediately before going on stage though…

Jenna: Literally as we walk on stage, we do [mimes fingers in a kicking motion] – is it from School of Rock? It’s really lame, and we make sure that nobody sees it, but it is happening!

Kieran: School of Rock, yeah. The ‘let’s rock, let’s rock today’ handshake.

I love that – it’s a classic. What have been your favourite songs to perform live from this album?

Kieran: For me it would absolutely be ‘Everything At Once’, it was also one of my favourites to record, but performing it live, it’s just taken on this whole new energy, so much so that it’s actually kind of informed what we’re doing moving forward, that kind of grungier sound. We’ve seen how that was received live, seen some movement in the crowd, some head bobs! So that was a song that massively came to life for me from performing it and moving forward it’s definitely forming the direction we’re moving into.

Jenna: Yeah, for me as well, ‘Everything At Once’ is definitely a moment I always look forward to at the end of the set – we’ve been finishing our sets with it for a little while now because it’s got such a big ending and it’s really fun. But I think for me, my favourite to perform is ‘Saving All Your Kindness’ – it’s just a really heartfelt, emotional ‘let’s bring it down’ moment in the set. It’s got my favourite lyrics of the album as well, so I really enjoy performing that and just feeling that emotion. ‘Counting Empties’ also goes down quite well too – it’s a slower moment for us but it helps build momentum as well.

Kieran: I guess there’s two sides to live shows. A side where we do have songs like ‘Everything At Once’ where we’d like people to be able to get moving, but also, we’ve always had those songs where people really relate to them, songs like ‘Counting Empties’ and ‘Saving All Your Kindness’ and equally, that side has its moment as well, which is what makes live shows so enjoyable.

When we last spoke to you in 2021, it was mentioned that you were refining your song-writing processes in the wake of emerging from lockdown and writing and rehearsing remotely. How has that come along? Is writing remotely still a part of the process?

Kieran: Well, we had a tricky situation where our guitarist left after the album – we got a new guitarist in, Lewis, who I’ve known for six or seven years, so it felt fairly
seamless. But it has definitely meant a different approach to writing, we still do things remotely but less so, there’s been a lot more in-the-room writing. Lewis is a producer, and Josh and I live down the road from his studio, so we’ve been in there writing instrumentals together, which has never really happened before. Jenna has come down a lot for lyric writing and melody writing, which we’ve all then had input with this time, so that’s been really nice. Lewis and I tend to take the instrumentation and more ‘atmospheric’ side of writing and production perhaps, with Josh and Jenna [working more] on the lyric side.

It’s great to hear that there’s such collaborative input. Jenna, you’ve spoken previously about being influenced lyrically by other songwriters. Are there literary sources of inspiration for you too? Given that the album name is from a line from Leonard Cohen’s poetry collection, The Flame?

Jenna: Josh definitely has some literary influences. For him, it’s been Patti Smith’s book Just Kids and the poem ‘Do Not Stand At My Grave and Weep’ by Mary Elizabeth Frye. Poems like that inform some of Josh’s writing about his father passing away. Josh writes a lot of poetry and reads a lot of books and is really into his writing, which is a slightly different writing process to me. I lean on my experiences and my life lessons and things I’ve been through, or that my friends have been through, rather than specific writers.

Your album was released following several successful EPs. how did recording an album compare to recording an EP? Did you feel that there were any different considerations you needed to take into account?

Jenna: We describe the EPs as sort of ‘experiments’ with what worked for us, what we wanted to sound like sonically and what our image was. It was a lot of exploration and discovery. I think we learnt a lot from those EPs about how we would like to produce and write the album, and how we would like it to be perceived as a whole project. The recording process for the album was almost completely different.

In what way?

Jenna: With the EPs we were pretty separate for much of the recording – drums and bass were recorded in one location and the guitars were put down separately. When I was recording vocals, I think I only probably saw the guys once or twice. It would just be me and whatever producer we were working with at the time. But with the album, for the most part, it was recorded with us all together in one room. It was a lot more collaborative, and we were able to be a lot more involved with each other’s instruments.

Kieran: It was the first time we had recorded something all live, pretty much. I think it was what the music needed, we always wanted the album to be more authentic and a bit more ‘rough around the edges’ to keep that charm to it. Vocals tended to be put in over the top, but Jenna was recording guide vocals in the room. The takes that ended up on the album for the drums, bass, and guitar were all together, from looking and feeding off each other’s energy, which was the main difference to anything we’ve ever done before, really.

What was it like to work with Grammy-nominated producer Catherine Marks (boygenius) on Lost In A Rush of Emptiness? How do you think she contributed to the feel and sound of the album?

Kieran: Catherine drew the perfect line between letting us be a band and giving us that freedom in the live room. There was one point that I kind of just when off on a whim and did a half-time bit, which ended up on the album in ‘Everything At Once’ and she really encouraged that, but then also had the ability to steer us into the right direction. She was really good at being like, ‘No, this is fine, this is what we need to do’ and coming into the room and saying ‘can you try this, this way?’, so it was the perfect line between giving us freedom and creativity but also steering us in the right direction. It was an amazing experience and I think that comes across in the sound of the album to be honest.

That confidence in your own sound, which feels pretty established now, definitely comes across on the record. In your own words, how would you describe the essence of Bleach Lab’s sound?

Kieran: We actually thought about this at length before starting. We decided that we wanted the album to sound ‘like red wine and dark chocolate’ and from the very start of recording we had that in mind, to the point where we actually came in to record in pyjamas, just to really set the tone.

Jenna: Catherine was in pyjamas as well!

Kieran: With everything we did we were just thinking of that image, and that helped to mould the whole album and that vibe. It just feels warm and like you want to just be listening to the vinyl, by a fire, with a red wine. I love that we did that. It really worked.

You recently posted a video on Instagram of you guys covering Chappell Roan’s ‘Good Luck, Babe!’ – are there other artists or songs you enjoy covering?

Jenna: We recorded and released a live session of Mazzy Star, which was a while ago now, but loved that and we had quite a good response from that as well. With the Chappell Roan cover, we’re big fans, obviously at the moment she’s taking over the world, and I think we thought putting a little bit of a Bleach Lab spin on it would be fun.

We’re always talking about covers. Every time I think one of us has a drink and we’re out, we’ll always message like ‘We need to cover this song’ and we never do – we’ve got a ridiculously long list of things we would like to. I wanted to cover something like Avril Lavigne or Gwen Stefani – I don’t know, just taking something obscure and putting a Bleach Lab twist on it. We haven’t done anything live yet – our manager is very insistent that we do, she wanted us to do the full ‘Good, Luck, Babe!’ live. I can imagine it going well.

Kieran: We really want to do something that’s completely not Bleach Lab and make it Bleach Lab and I think once we find that, it could be Avril Lavigne to be fair, I think that’s a good shout…

Jenna: I think we also mentioned ‘Planet Caravan’ (by Black Sabbath). That could be on the cards.

We’d love to hear a Bleach Lab take on ‘Sk8er Boi’. What are you looking forward to in the coming year?

Kieran: I think actually we’re in a really good place as a band. The mood is really good at the moment, we’re into the second album but I don’t really feel like there’s pressure and I think that’s perhaps due to changes in the band it all feels new, quite naturally, with a new member in there. Where perhaps before we’d have to think about developing our sound, it has kind of happened naturally because the band has developed. So, a lot of excitement – a lot of writing going on, some really good songs with a bit of a new sound, but staying true to what our fans like. It’s just excitement really to get cracking. Hopefully do what we did with the first album all over again. That’s the plan!

Thanks to Jenna & Kieran for the chat!

Follow Bleach Lab on bandcamp, Spotify, Instagram, Twitter & Facebook

Questions: Jen Horsfall

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PLAYLIST: August 2024

The Get In Her Ears team have put together another mix of eclectic electronic tracks, alt-pop tunes, indie anthems and alternative & shoegaze sounds for your listening pleasure. Take some time to scroll through our track choices below, and make sure you press play on the playlist at the end of this post.

Follow GIHE on Spotify to hear all of our previous playlists too.

ARXX – ‘Trouble’
The latest single from biggest faves, Brighton duo ARXX, ‘Trouble’ showcases a bit of a grittier electronic side to the duo than we may be used to. Reflecting on the mixed feelings that follow a break-up, the track oozes a Peaches-esque bass-heavy seductive allure as it builds to a soaring, anthemic pop anthem. It’s wonderful to see Hanni and Clara experimenting with their sound and flexing their creative muscles so beautifully; whatever they create, whatever its genre or influences, ends up being an instantly addictive hit without fail, and leaves me filled with excitement about what they might do next. Following an incredible summer, wowing festival crowds across the country – including their first time at Glasto – ARXX will be releasing their second album on 4th October and playing a headline tour across the UK and Europe to celebrate. We can’t wait!
(Mari Lane – Managing Editor)

Circe – ‘Heaven’s The Other Way’
Following on from her bittersweet single ‘Blue Love’, this is the latest creation from dark-pop artist Circe. She captures a moment of intense loneliness on ‘Heaven’s The Other Way’ via her poetic lyrics, seraphic vocals and glistening electronics. Circe performed this track during her set supporting The Midnight at Camden’s Electric Ballroom back in July and it sounded just as rapturous in the flesh. Read the full review of her show here.
(Kate Crudgington – Features Editor)

Tiiva – ‘Golden’
Electronic artist, producer & GIHE fave Tiiva is back with this shimmering new single. Full of their lush vocals, lilting synths and evocative beats, ‘Golden’ explores the mixed emotions that come when you’re persevering through an uncertain time. Of the track, Tiiva explains: “‘Golden’ is about holding on when things feel like a lot, a conversation between two voices kindness and feeling overwhelmed and rebuilding.” (KC)

Ideal Host – ‘Dust Collector’
Created during a four day residency in a converted water mill in Llangollen in Wales, this is the latest single from indie band Ideal Host. ‘Dust Collector’ is their poppiest offering to date and I love the way Heather’s soft vocals blend seamlessly with buoyant riffs, lilting electronics and catchy beats. (KC)

Lazy Day – ‘Concrete’
Set to release their debut album in November, London based artist Tilly Scantlebury – aka Lazy Day – has now shared shimmering new single ‘Concrete’. Rippling with a stirring twinkling emotion, the track’s somewhat disjointed structure and fluctuating musical layers reflect the poignant sentiment of its lyrics: “Concrete was a helpful metaphor… It’s strong and sturdy, as well as being extremely heavy. It was a useful framework for thinking about relationships which felt stable, but at the same time weighed me down.” Open The Door, the debut album from Lazy Day, is set for release on 8th November via Brace Yourself Records. (ML)

Cuushe – ‘Faded Corners’
A euphoric slice of ambient dream-pop, ‘Faded Corners’ is the latest single from Japanese artist Cuushe. Glistening with a spellbinding delicate splendour, a beautiful lullaby is created; set to soothe even the most anxious of minds as the summer comes to an end. (ML)

Grand Pax – ‘MB BB’
The latest single from London based queer artist Grand Pax, ‘MB BB’ flows with glitchy beats and dreamy synths as the sparkling splendour of her vocals soar. A blissful soundscape reflecting on the emotions following a break-up, she says of the track that it’s “about wanting to hold onto something but knowing it’s not possible. It’s the process of it leaving your body, but acknowledging it as you let it go.” Crush, the new EP from Grand Pax, is out now. (ML)

Yellow Belly – ‘Crux’
This atmospheric track by Australian-born, Cardiff based experimental musician Yellow Belly is taken from her recent album, Ghostwriter. The record is a hypnotic reflection on a difficult time for the artist, explored through her shape-shifting electronica, melancholic lyrics and hushed vocals. (KC)

Chelsea Wolfe – ‘Tunnel Lights’ (††† Remix)
The original version of this Chelsea Wolfe track – taken from her excellent seventh album, She Reaches Out To She Reaches Out To She – was already a shape-shifting, shadowy offering, but this treatment by ††† (Crosses), featuring Chino Moreno’s distinctive vocals and Shaun Lopez’s industrial beats, is equally as intense. It’s lifted from her remix EP, UNDONE, which is out now via Loma Vista. (KC)

Birthday Problem ft. HAVVK – ‘Same Face’
I have been consistently impressed by everything that Irish collaborative electronica project Birthday Problem have released this year. Formed of Matt Harris and Rocky O’Reilly, ‘Same Face’ is their fifth single, featuring vocals from GIHE fave Julie Hawk (HAVVK). Haunting synths, layered vocals and sparse beats all combine to create another disarming and unusual listen from this eclectic pair. (KC)

Nina Eba – ’13’
I love this track by Ukrainian-born, Austrian-based producer & songwriter Nina Eba, which is taken from her self-released debut album, MORPHO. Inspired by the metamorphosis of the morpho butterfly, the record reflects on Nina’s experiences to self-acceptance and unrequited love. Nina’s sound is reminiscent of FKA Twigs, Bjork and Sevdaliza. (KC)

Lollise – ‘Iron Woman’
Brooklyn via Botswana Afro-Futuristic artist Lollise tackles an important issue on her zealous single ‘Iron Woman’, which is taken from her upcoming album, I hit the water, set for release on 6th September. Through her intense electronics, driving beats and direct lyricism, she explores the plight of black women who suffer from severe fibroids who are often overlooked by the US health care system. Lollise explains the context of ‘Iron Woman’ further: “Most of my black friends with uteruses have had hysterectomies or undergone multiple myomectomies. In this song I talk about my experiences dealing with fibroids and menorrhagia going in and out of various emergency and hospital rooms. “Phallic science” talks about male dominance in science and how much money is allocated to studying men’s virility and very little is dedicated to women’s health and black women’s health specifically.” Watch the track’s accompanying video here. (KC)

Midwife – ‘Vanessa’
On this slow-burning, atmospheric track, Colorado based musician and producer Midwife personifies and pays tribute to her old tour van ‘Vanessa’. Lifted from her upcoming album, No Depression in Heaven, which is set for release on 6th September via The Flenser, it’s another disarming piece of her blissful ambient shoegaze. I can’t wait to hear the record in full. (KC)

Tanukichan ft. Wisp – ‘It Gets Easier’
I’m new to California based artist Tanukichan, but when I saw that she had collaborated with shoegaze star Wisp, I instantly became a fan. ‘It Gets Easier’ is a dreamy blend of their lush vocals, swirling riffs and their driving beats. The track is featured on Tanukichan’s upcoming EP, Circles, which is set for release on 20th September. (KC)

the IV – ‘Same Old Story’
This brooding new anthem from elusive band the IV dropped into my inbox earlier this month. Created by vocalist and drummer Ingvild Nærum, ‘Same Old Story’ reflects on our role as consumers of culture through the lens of Freud’s dream-work theory. The rumbling bass lines, atmospheric riffs and staccato drumming make for captivating listening. (KC)

Hello Mary – ‘Down My Life’
New York trio Hello Mary continue to impress me with each single they share from their upcoming second album, Emita Ox. Set for release on 13th September, the record showcases their ability to blend their quiet-to-loud vocals, grungy riffs, considered instrumentation, and bruising beats perfectly. The band will be making their London live debut at The Shacklewell Arms in Dalston on 4th September and they’ll be playing at The Windmill in Brixton on 5th September too. I’ll be there on the 5th to hear ‘Down My Life’ in the flesh. (KC)

Girl Gordon – ‘The Need’
I love the gritty, reverb-heavy intro to this sardonic anthem by Cincinnati-based DIY indie punks Girl Gordon. ‘The Need’ is taken from their recent EP, Corruptor, and it “speaks to the pressures of societal beauty standards” that are often perpetuated by social media. (KC)

Scrunchies – ‘Generator’
The latest single from Minneapolis based Scrunchies, ‘Generator’ blasts into the ears with its raw punk energy. New favourites for sure, I can’t get enough of this new riot grrrl-inspired band’s scuzzy hooks and fierce empowering allure. ‘Generator’ is taken from Scunchies’ new album Colossal, one of the last albums that the legendary Steve Albini recorded and mixed. It’s also accompanied by a fantastically fun music video, created in collaboration with Los Angeles-based “dance aerobics celebration” Pony Sweat – watch it here. (ML)

Rottweiler – ‘Sarah’
This slow-burning single from Brighton rockers Rottweiler showcases their ability to balance atmospheric riffs with powerful vocals and crashing percussion. Inspired by the likes of Jeff Beck, Smashing Pumpkins and Paramore, ‘Sarah’ is a swirling cacophony of angst-ridden noise. (KC)

Queen Cult – ‘To Be A Boy’
Having released their new EP Be Better earlier this month, our favourite Macclesfield trio, Queen Cult have been wowing us for a couple of years now with their fierce raging energy and captivating charisma. Taken from the EP, ‘To Be A Boy’ showcases all their is to love about Maisie and co; propelled by the immense gritty power of her vocals, it explores themes of gender dysphoria and expectations of AFAB people growing up in a small town with a stirring honesty and raw emotion. A band on the rise, and for good reason, we can’t wait to see what Queen Cult have in store for us next. (ML) 

Berries – ‘Watching Wax’
The latest single from long time faves Berries, ‘Watching Wax’ offers our first taste of the London-Brighton band’s new material ahead of the release of a new album, set for release in October. With the distinctive twang of the band’s trademark scuzzy riffs and front person Holly’s lush syrupy vocals, I just can’t get enough of its racing fierce energy and gritty allure. (ML)

Um, Jennifer? – ‘Went On T’
‘Went On T’ is the latest single from New York trans-punk duo Um, Jennifer? It’s another refreshing blend of the band’s quirky humour and personal reflections on gender politics. Speaking about the track, the band explain: “‘Went On T’ is the indie rock anthem calling you back home to yourself. It’s about taking your own body back from those that claim to love you. It’s a reminder not to take on anybody else’s shit.” (KC)

Fightmilk -‘No Souvenirs’
To say I’m excited about the new album from total faves and all round great humans Fightmilk may be an understatement. Set for release on 15th November via Fika Recordings / INH Records, it’s been three years in the making and promises to showcase how the band are consistently evolving their unique sound. To celebrate the album announcement, the band have now shared its title track, ‘No Souvenirs’. A beautifully poignant reflection on loss, it oozes an anthemic raw emotion and exquisite shimmering splendour. Losing a friend to suicide just over a decade ago, it’s taken songwriter Lily until now to be able to put her feelings into words: “It’s finally exactly what I wanted to say, and I think he’d have thought my band sucked, but that’s alright.” Pre-order No Souvenirs here, and book tickets to the launch show at Paper Dress Vintage here. (ML)

Jemma Freeman – ‘Hoping For A Miracle’
An unexpected new single from immense songwriter and performer Jemma Freeman, ‘Hoping For A Miracle’ was written, recorded and mixed in their bedroom, causing them to be apprehensive about sharing it with the world. But we’re so glad they did! “The queer, sad, banger you need to blast through any unexpected summer break up.”, it’s propelled by fuzzy hooks as the raw, gritty power of Jem’s distinctive vocals soar. A fizzing psych-rock anthem showcasing their ability to weave together a rich musicality with their trademark frenzied energy. ‘Hoping For A Miracle’ is the b-side to fellow surprise, and beautifully vulnerable, single ‘Alien’. (ML)

Pretty Bitter – ‘Never Better’
Washington D.C based indie-pop group Pretty Bitter teamed up with fellow indie rockers Flowerbomb to release a split EP, titled Take Me Out, at the beginning of August. ‘Never Better’ is the opening track on the record and it’s buoyant mix of indie guitar twangs, catchy melodies and bittersweet vocals. (KC)

Soccer Mommy – ‘M’
Nashville indie artist Sophie Allison aka Soccer Mommy is back with this lush single and news about her upcoming album, Evergreen. Set for release on 25th October via Loma Vista, Allison has used her innately raw songwriting techniques to move through the lingering effects of deep personal loss that affected her before she began writing this new record. (KC)

Emily Wurramara – ‘STFAFM’
Having just released her new album Nara – a celebration of rebirth -, multi-award-winning lutruwita/Tasmania-based artist, activist, author and proud Warnindhilyagwa woman Emily Wurramara has now shared new single ‘STFAFM’ (stay the fuck away from me!). Propelled by her lush, soulful vocals, it offers a fiercely empowering energy; an uplifting ode to finding inner peace and motivation. (ML)

Joanna Sternberg – ‘A Country Dance’
One of my most listened-to artists of the last couple of years, Brooklyn artist Joanna Sternberg has now shared a stirring new stand-alone single. Featured in upcoming film, Between The Temples, ‘A Country Dance’ was inspired by Joanna’s close friend Sami Bronowski, who was the first person to encourage Joanna to sing in public. Showcasing the exquisite vulnerability and raw emotion of their vocals, it flows with beautifully lilting melodies, shimmering with an uplifting, heartfelt grace. (ML)

Rubie – ‘Death By Catgirl’
Following her beautifully heartfelt last single, ‘To Change’, GIHE fave Rubie has now shared ‘Death By Catgirl’ – written from the perspective of a “hot, on the rise trans woman microcelebrity, throwing off her furs and meaning business”, it’s propelled by a colourful funk-fused groove as swirling, jazz-tinged melodies ripple alongside the majestic captivating allure of Rubie’s distinctive vocals. ‘Death By Catgirl’ is taken from Rubie’s upcoming second album, Seek Sisters, which is due out on 22nd September via Pressing Up Club. (ML)

Husk – ‘Open Waters’
Very different in sound from what we might remember of Husk’s previous releases, this new single sees the Manchester based artist experiment with traditional Irish folk music, adding their own distinctive queer electronic edge. Reflecting on their first experience of swimming in the Irish sea with a sparkling energy, and switching between English and Gaelic throughout the track, they explain: “There’s some things that I needed to say, but English couldn’t do it justice, so I switch between the two; it’s a creative choice… I’m saying that the whole world is with us in that moment, a whole world was connected to us through the water. And, with, sea swimming, it’s so cold that you can only think about your fundamental instincts, and it felt elemental.” (ML)

Gossip – ‘Move In The Right Direction’
Finally getting to see Gossip at All Points East last week really did exceed all expectations. The empowering energy and fiercely immersive charisma of Beth Ditto is unmatched, and it was an experience filled with tonnes of queer joy and overwhelming emotion. “I’ll hold back tears / Move in the right direction / Face my fears / Move in the right direction” – and hearing this song live just hit particularly hard. (ML)

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LIVE: Deer Shed Festival 2024 – A Child’s View

In addition to all the fantastic music that North Yorkshire’s Deer Shed treats us to, the festival also prides itself on its family friendly focus and array of activities on offer for children to enjoy. To get full insight into what the festival experience might be like for under 5s, we thought it only right to ask our very own next generation GIHE gal Orla her own thoughts about spending Saturday at Deer Shed a few weeks’ back..

John McGovern has put to pen what Orla told us, with highlights including face-painting, big caterpillars and Baba Ali…

Mama and Daddy had told me we were going to a festival. I had done a festival day at nursery and I had played guitar, but we had to go in the car to this one. When we got out of the car I had nearly been asleep, but I could hear music from the car park, and there were lots of trees. I got into my cart and Daddy asked: “How are you feeling?” and I said: “GOOD!”. And when he asked “What are you looking forward to doing?”, I said “Going in!”

I got a special wristband – Mama said I had to keep it on the whole time. I could see hundreds of tents when we walked in, and lots of children but some were older than me (I’m three). Daddy bought me some ear defenders and I chose red ones. Then Mama said it was lunchtime, and we didn’t know what to get because there was so many places. But I like golden cheese and chips, so we got that. Daddy says ‘golden cheese’ is actually called halloumi…

We were on our way to the special bit for kids, but Mama said we should also look in the shops, and someone was doing face painting. Last time I got my face painted I chose Bluey, but this time I wanted rainbows to match my dress. I felt really magical because the lady put big sparkly glitter on my face. Then we got to a thing Daddy called ‘Feral Farm’ – it was full of straw. Big kids were building straw in piles and other kids were sliding on it. I threw straw on Daddy and put straw in his shoes – that was my favourite bit. I didn’t want to leave, but Daddy said there was other things to see.

There was a big playground built of wood and kids with tools smashing it, and a field with kids playing football, and a mud kitchen. But I wanted to play in sand; I took my wellies and socks off and stood on the sand, and other girls did too. We found a worm and built him a house. Mama said there was soft play, so we went in the tent to look – I ran up and down and had to balance on it. Then I rode on a big caterpillar. In there, Daddy asked me questions – “what’s your favourite thing about the festival?”, I said “Kids”.

There was a lot of things that we looked at too – a tent with kids doing experiments, and a clown in a big tent. I wish we had more time, but Daddy said we should go and see at least one band. We rolled in my cart back towards the big stage and it started to rain. But no-one seemed sad about the rain. They went into a tent with a big long table and started to dance to some music – Daddy said it was where you could get silly juice, but I’m not allowed to have any yet… All the grown ups and the kids were happy, even when it rained.

We went up a hill near a big wheel that people were riding on and Daddy said “There’s Mari!”. And a lady with white hair like Mama, and a man with a big beard were there (he was Uncle Paul). I showed Paul my Miffy bag and then I ran into a big tent. Me and Daddy played tig, and Daddy said there would be a band on the stage soon, and people started coming in. Daddy asked whether I wanted to hear quiet music or loud music, and I said “Loud!” We stood far back but Daddy put me on his shoulders so I could see. Two boys came out; one played guitar and one sang. It was VERY LOUD like I wanted, and I had my red ear defenders on. It was the best. I wanted Daddy to put me on the ground so I could dance, and my wellies lighted up and then Mama held me, and I danced and danced and danced. And was smiling the whole time. The boys playing guitar and singing were called Baba Ali, and they are my favourite band.

Daddy said we had to go after that because it would be bedtime when we got home. But I got a green t-shirt so I could show people I had been to Deer Shed. When I saw the tents again on the way to the car, I told Daddy that I wanted a tent for next year at the festival. I fell asleep in the car going home and had dreams about music and dancing and straw. I like thinking about the festival and Baba Ali, and I want to go again when I am bigger.

Massive thanks to Orla for telling us about her day at Deer Shed this year – it sounds like she had a wonderful time, and she would definitely recommend it to other children!

You can read our ‘grown up’ reviews of days one and two at Deer Shed a few weeks’ back, with highlights including Los Bitchos, The Go! Team, Picture Parlour and Liz Lawrence. And keep your eyes peeled for some words and photos of Sunday at the festival, coming very soon!

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PLAYLIST: July 2024

The Get In Her Ears team have put together another mix of eclectic electronic sounds, alternative & shoegaze anthems, punk bangers, indie-folk musings and alt pop tunes for your listening pleasure. Take some time to scroll through our track choices below, and make sure you press play on the playlist at the end of this post.

Follow GIHE on Spotify to hear all of our previous playlists too.

Whitelands – ‘Cheer’
This is one of my favourite songs, taken from one of my favourite albums of 2024, from London-based shoegaze band Whitelands. Their debut record, Night-bound Eyes Are Blind To The Day, is a heady rush of atmospheric reverb-heavy guitars, lush gauzy vocals and poetic lyricism, and I’ve been infatuated with it since its release via Sonic Cathedral. Watch the accompanying video for ‘Cheer’ here.
(Kate Crudgington – Features Editor)

Clinic Stars – ‘Only Hinting’
I am hooked on the shimmering guitars and ethereal vocals on this dreamy offering by Detroit-based duo Clinic Stars. ‘Only Hinting’ is the title track from their upcoming debut album, which is set for release on 20th September via Kranky. (KC)

Kynsy – ‘Stereo Games’
Described as “a wild ride through the chaos of love and self-destruction,” Dublin-raised, London-based artist Kynsy delivers another brooding indie anthem here. Released via Nice Swan Records, it’s full of her distinctive vocals and gritty riffs. (KC)

Hello Mary – ‘0%’
It took me about 10 seconds of listening to ‘0%’ for me to decide that I loved New York trio Hello Mary. It captures their dynamic blend of grungy riffs, considered instrumentation, unpredictable beats and direct vocals perfectly. The band will be releasing their second album, Emita Ox, on 13th September, and they’ll be making their London live debut at The Windmill in Brixton on 5th September. Grab a ticket here. (KC)

Loose Articles – ‘Are You A Welder?’
The new single from Manchester faves Loose Articles, ‘Are You A Welder?’ challenges society’s stereotypical gender roles centered on concepts of masculinity and femininity with a raw punk power and playful energy. Having recently supported Foo Fighters on tour, and being busy playing plenty of festivals this summer, have just released their debut album, Scream If You Wanna Go Faster, via Alcopop! Records too.
(Mari Lane – Managing Editor)

pink suits – ‘Are You Gay Yet?’
Taken from their recently released second album Dystopian Hellscape, Margate duo pink suits offer a seething celebration of queerness with ‘Are You Gay Yet?’. Reflecting on numerous interactions that guitarist and vocalist Lennie has had throughout their life when people have questioned or confronted them about their sexuality, it’s an uncompromising reclamation of being confident in who you are. As Lennie says, “People are gay. I am gay. We are gay. You might be gay too… and that is ok.” And pink suits have just shared a wonderfully empowering and joyous new video for the track – check it out here. (ML)

Destroy Boys – ‘Should’ve Been Me’
This raging new single from Sacramento punks Destroy Boys might be less than two minutes long, but it packs a proper punch. The track is taken from the band’s upcoming album, Funeral Soundtrack #4, which is set for release on 9th August via Hopeless Records. (KC)

Soot Sprite – ‘I Went Swimming’
South England-based indie-shoegazers Soot Sprite dropped this tune a back in June via Specialist Subject Records. Full of swirling riffs and urgent vocals, ‘I Went Swimming’ is about proactively ditching a toxic relationship before it drags you down further. (KC)

EFÉ – ‘2000SEVEN’
Irish artist EFÉ is back with this banger of a single. Written when she was 19 but developed over several years, ‘2000SEVEN’ is an homage to 00s rock, but also an ode to recovering from a tough time and finding new friends in the process. (KC)

Lemonade Sin – ‘Keep It Up’
Consisting of members you may recognise from other bands such as BCOS RSNS and Umbrella Heaven, London-via-Devon Lemonade Sin have just released their new album, Deadly Sins. Taken from the album, latest single ‘Keep It Up’ offers a blissful rumination on lust; combining jangly guitar pop with a classic disco groove and lush synth sounds reminiscent of the dreamy soundscapes of Stereolab. (ML)

Los Bitchos – ‘Kiki, You Complete Me’
Based in London, international band Los Bitchos include members from Australia, Uruguay, Sweden and Britain, and are united by a distinct sense of fun. This definitely comes through in their latest, comic-book-inspired new track, ‘Kiki, You Complete Me’. Racing with a swirling energy and colourful rhythms, it’s described by the band as “Batman meets Los Bitchos”. (ML)

The Go! Team – ‘Ladyflash’
Having been a big fan of The Go! Team’s 2004 album, Thunder Lightening Strike, when it came out all of twenty years ago, I then saw them live at Electric Ballroom in 2018, and it was one of the most fun live shows I’ve ever been to – such immense energy and colourful charisma. So, I was very excited to see them again at Deer Shed Festival. I chatted to the band recently about live shows, kids on tour and the challenges of the industry today – have a read here. (ML)

CATBEAR – ‘Rush’
Having previously supported indie legends The Subways and just played Bristol Pride alongside the likes of Ladytron and Human League, synth-pop duo CATBEAR take influence from queer icons like Robyn and Tegan and Sara. New single ‘Rush’ swirls with a colourful, euphoric energy of this track, creating a perfectly danceable summer anthem. (ML)

Julia-Sophie – ‘wishful thinking’
This lush glitch-pop offering from Julia-Sophie is one of many gems on her debut album, forgive too slow. Released via Ba Da Bing Records, the record is a bittersweet reflection on past love, heartbreak and recovery, all tinged with the Anglo-French artist’s distinctive melancholic edge. (KC)

Maria Uzor – ‘What U Need’
The new single from GIHE fave Maria Uzor, ‘What U Need’ showcases all there is to love about the Norwich artist. Propelled by fierce beats as a glitchy electronic soundscape provides the backdrop for Uzor’s soaring vocals, the track pulsates with a deep immersive groove and sparkling playful allure. Reflecting on her recent time away from social media, she says of the track: “(It’s) about how you can lose a sense of who you are if you spend too much on there…” ‘What U Need’ is accompanied by a fun, homemade video in which Uzor has dressed up as characters from some of her previous videos in order to convey a sense of identity being in flux. (ML)

Palindrones – ‘Lemuria’
A dark, hypnotic blend of electronics and glitchy beats, ‘Lemuria’ is the latest single from South London industrial synth-pop duo Palindrones. Taken from their album Chapter One, which they released last year, the single is accompanied by a new music video, which you can watch here. (KC)

Sister Ghost – ‘Dark Matter’
Northern Irish artist Sister Ghost has shared this evocative track, which is lifted from her upcoming debut album, Beyond The Water. Set for release on 31st October via Third Bar Records, ‘Dark Matter’ was inspired by the French film, Portrait of a Lady on Fire. Sister Ghost explains further: “I really felt it echoed some of my own queer experiences. That’s also why there’s some French in the bridge section of the song, which translates to ‘my love, she glows in the fire’.” (KC)

PostLast – ‘Hollywood Ending’
Another dreamy offering from Irish duo PostLast here, released via VETA Records. Formed of Julie Hough (HAVVK) and Stephen McHale (BARQ), PostLast’s brand of off kilter indie-pop always makes for an charming listen. (KC)

Happy Accidents – ‘Infinite Possibilities’
Their first new music since 2018, ‘Infinite Possibilities’ is the new single from South London duo Happy Accidents. Reflecting on how our brains can play tricks on us, and how there could be infinite ways to interpret what is happening to us, it flows with jangly hooks and emotion-rich twinkling harmonies. The single comes ahead of a new album Edit Undo, due for release on 27th September via Alcopop! Records, and – in the meantime – the band are inviting fans into a load of secret new music and stories behind the songs, as well as access to the album a month early. This can all be accessed by pre-ordering the record here. (ML)

Squirrel Flower – ‘Finally Rain’
One of my most listened to artists over the last couple of years, I was lucky enough to catch Squirrel Flower live at The Lexington last week. From the start, she instantly immersed the sold out venue in a soaring splendour as the raw emotion of her crystalline vocals flowed throughout. Treating us to a set spanning all five of her albums, live she was even more spellbinding than I could have imagined; combining a celestial majesty with a gritty musicality, Squirrel Flower and her band succeed in completely captivating me with each truly exquisite offering. Ending the set with a solo rendition of this closing track from her latest album, Tomorrow’s Fire, ‘Finally Rain’ brings the evening to a close with a perfect heartbreaking grace, evoking in me the kind of emotion that is normally only reserved for Bruce Springsteen. (ML)

Seaker – ‘Lately’
North London-based independent musician Seaker self-produced this track in her home studio. She describes it as “a love song of sorts” that is designed to feel like “a comforting word from a friend”. Her tender vocals and earnest lyricism combine with gentle beats and keys to help soothe the pangs of heartbreak. (KC)

Midwife – ‘Rock N Roll Never Forgets’
The latest single from the elusive Midwife is a bittersweet rumination on memory, and a gentle ode to the transcendent power of music. It’s taken from her upcoming album, No Depression in Heaven, which is set for release on 6th September via The Flenser. I’m a big fan of her “heaven metal” sounds and I can’t wait to hear the record in full. (KC)

Gracie Gray – ‘Burden’
Taken from her new released second album, Magnet, this track by LA born, New York based artist Gracie Gray showcases her innately raw, self-soothing qualities as a songwriter. I had a really lovely chat with Gracie for The Line Of Best Fit, in which we spoke about the importance of solitude, the joy of listening to music in your bedroom, and limiting your time on the internet. Read it here. (KC)

⁠Breymer – ‘Darkness’
Minnesota born artist Breymer is set to release their new album in October; a collection exploring their relationship with gender and identity, they recently changed their artist name – from Sarah Walk to the more androgynous Breymer – to reflect how they feel about themselves after their recent top surgery. ‘Darkness’ was written to comfort their wife when she was going through a tough time, and its rich stirring emotion and lilting musicality is a thing of pure beauty. When I Get Through, the upcoming new album from Breymer, is set for release on 18th October via One Little Independent Records. (ML)

Katie Malco ft. Laura Stevenson – ‘Fatal Attraction’
A disarming reflection on connection, loneliness and infatuation, I love this new track from Katie Malco, featuring American songwriter Laura Stevenson. ‘Fatal Attraction’ is inspired by the classic 90s erotic thriller that it’s named after. Katie comments: “Strangely, I realised that Fatal Attraction might be one of the most relatable movies I’ve ever seen. The scariest and most gripping parts are in the intense rage felt at the hands of selfish and careless behaviour and the self-loathing that comes with it. It almost becomes an analogy of society at large, where the men always seem to get away with it, and nobody else does. Boiling bunnies and stalking aside, you could liken Glen Close’s character to the entire non-male population, fighting to be heard and to be equal.” (KC)

Sunflower Thieves – ‘How Was America’
This is the latest single from Leeds alt-pop duo Sunflower Thieves, taken from their upcoming EP, Same Blood, which is set for release on 30th October via Kartel. ‘How Was America’ is a deceptively soft sounding song that’s underscored by the sharp, lingering pain of being ghosted by a friend. (KC)

Jasmine.4.t – ‘Skin On Skin’
Based in Manchester, trans artist Jasmine.4.t is the first signee to Phoebe Bridgers’ new label Saddest Factory Records and has now shared exquisite new single ‘Skin On Skin’. Produced by Bridgers alongside fellow Boygenius members Julian Baker and Lucy Dacus, it’s as beautifully perfect as you’d expect. Reflecting on both the camaraderie and isolation that can be a part of transfeminine life, it flows with a stirring glistening emotion and twinkling hooks. If you, too, fall in love listening to this track, you can catch Jasmine live at The Waiting Room in Stoke Newington on 31st July – nab tickets here. (ML)

Bria Salmena – ‘Bending Over Backwards’
Loving this sultry, upbeat offering from Canadian artist Bria Salmena, released via Sub Pop. Salmena describes this track as “a manic conversation with myself,” with her lush vocals and hazy riffs helping to calm those chaotic thoughts. (KC)

Yaz León – ‘GULLY’
Spanish-Iraqi songwriter Yaz León has just released her new EP, BLEACH, which she produced by herself. It’s a record that documents the songwriters “internal monologue” over the past year, and this track ‘GULLY’ is a tender, slow-building testament to that. (KC)

Lex Amor – ‘A7X’
Having previously played on Later… With Jools Holland and collaborated with the likes of Kojey Radical, North London artist Lex Amor has now worked alongside Luton based rapper BXKS on latest single ‘A7X’. Fusing together genres to create a blissful reflection on everyday life, it oozes a stirring soulful groove. I’m a big fan. (ML)

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