LISTEN: GIHE on Soho Radio with The Baby Seals (01.04.24)

Tash and Kate were back on Soho Radio playing loads of new music from some of their favourite female, non-binary and LGBTQIA+ artists. Mari offered some of her “musical musings” too. Artists featured on the eclectic playlist included ARXX, CLT DRP, Circe, Tiiva, Pink Milk, Pixie Cut Rhythm Orchestra, pink suits, ALYSS, Julia Holter and more.

Kate also spoke to vocalist and guitarist Kerry Devine from The Baby Seals about the band’s upcoming debut album, Chaos, what it’s like to get ‘ID’d at Aldi‘, and how they translated their riotous live sound into their new record. Catch The Baby Seals live at Cro Cro Land on Saturday 13th April and find out about their other upcoming tour dates here.

Listen back to the show below:

 

We’ll be back on Soho Radio on Monday 29th April from 12-2pm
 Make sure you tune in via www.sohoradiolondon.com

Tracklist
St. Vincent – Broken Man
Tiiva – Tornados
Circe – Blue Love
Pink Milk – You Will Follow Me to Hell
Chartreuse – Whipper (Jaws Of Love. Remix)
Julia Holter – Something in the Room She Moves
LUCI – Thunder Calling
NikNak – You Were Supposed To Be Good
Tei Shi – No Falta
Smerz – Shining Star
Personnel – Even Now
Noé Solange – Rise
Hinako Omori – cyanotype memories (Joe Goddard Remix)
CLT DRP – Until You Showed Me
Fraulein – Feels Like Flying (Day)
The Baby Seals – ID’d at Aldi
**Interview with The Baby Seals**
Make Out Palace – New Addiction
ALYSS – TSIER
Pixie Cut Rhythm Orchestra – Problem Child
pink suits – Are You Gay Yet?
Mammoth Penguins – Everything That I Write
ARXX – Crying In The Carwash
Nuha Ruby Ra – Fetish 2 Forget
Astrud Gilberto – Fly Me To The Moon

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LIVE: SPIDER – Camden Assembly, London (20.03.24)

The last time we saw alt-pop polymath SPIDER play live, she was dominating the stage at The Green Door Store in 2023 at The Great Escape Festival in Brighton. Playfully taunting the “industry guys at the back” to move forward and dance along to her high energy anthems, the Irish songwriter and producer impressed us with her defiant attitude and eclectic mix of genre-blending songs. Fast forward ten months to her first London headline show at Camden Assembly and the effect is very much the same.

Celebrating the release of her new EP, an object of desire, SPIDER performed a set of riotous, angst-ridden tunes about coming of age in an antagonistic world that often tries to dictate this deeply personal process. Joined on stage by her drummer and guitarist, she launched into the title track from her new record, which instigated an impassioned response from those at the front of the crowd. Wearing a t-shirt adorned with the slogan “Who TF is Spider?” the Irish musician was quick to compliment her audience on how “hot” they all looked, before diving into tenacious renditions of ‘Straight Out The Oven’ and ‘Daisy Chains’.

From its inception, SPIDER’s set was a joyful, animated medley of pop punk and alt-pop noise with the occasional slower tempo tune – like the smouldering ‘Romeo’, lifted from her debut EP, C.O.A (Coming Of Age). Between songs, her natural quick wit and charisma shone through. She encouraged members of the crowd to shout out the names of exes treated them badly and took puerile delight in hearing them chant the lyrics to ‘Fuck You Fuck Everything’ from her second EP, HELL OR HIGH WATER, back at her.

SPIDER’s humour is underscored by a more urgent purpose though. Despite their vivacious delivery, her songs are underscored by themes of alienation and inequality. On tracks like ‘TRAUMA’ and ‘5678’, which she dubbed as a new “fan favourite”, she took an extended amount of time to contextualize why she creates her music. ‘TRAUMA’ was inspired by the entitled behaviour of a white boy who refused to pay for his shots when she was working behind a bar, whilst ‘5678’ focuses on the gendered double standards and the unacknowledged emotional labour of girls and women. Her reflections on the emotional resilience that’s required to endure and heal from these experiences is driven home by her direct lyrics, strong vocal performance and clear intonation.

SPIDER openly explained that as both a young woman and a young woman of colour, she routinely grapples with the contradictory ways in which her behaviour on and off-stage is analysed and interpreted by others. ‘5678’ is SPIDER’s way of navigating this chaos, rejecting false perceptions, and moving forward with the strength of her fans, who cheered along as she acknowledged these damaging and unfair projections.

The Irish musician is a passionate advocate for instigating change in a predominantly white, male music industry. This is reflected in her crowd – formed of majority female and gender-non-confirming fans who dance and sing without inhibition – and in her choice of support acts. She shared the bill with fellow emerging alternative artists of colour SAFESP8CE and BUKKY. This outlook is also epitomised during her corrosive closing track, ‘America’s Next Top Model’, which was penned as a response to the backlash and whitewashing she has experienced online. During the performance, she joined her crowd as they playfully pushed each other in the mosh pit, openly enjoying her moment in the spotlight at her first London headline.

Whilst SPIDER’s live set is ultimately a space for fans to cut loose and forget about the outside world, it also serves as a reminder that if we want artists like her to thrive, we need to start showing up for them; whether that’s physically at gigs, buying their music, or simply spreading the word about them online.

Follow SPIDER on Spotify, Instagram, Twitter & Facebook

Kate Crudgington
@KCBobCut

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FIVE FAVOURITES: Softcult

Formed of twin siblings Phoenix and Mercedes Arn Horn, Canadian duo Softcult have had a busy few years touring extensively with the likes of Incubus, Movements and MUSE, as well as releasing a trio of excellent EPs: Year Of The Rat (2021), Year Of The Snake (2022), and See You In The Dark (2023). Now, the pair are gearing up to release a new collection of songs, titled Heaven, which they’ll be sharing on 24th May via Easy Life.

With their shimmering guitar tones, swirling FX and atmospheric dual vocals, Softcult provide their listeners with welcome moments of respite from the pressures of everyday life. With tracks that touch on issues of body image and self esteem, to anthems that advocate for gender equality and anti-capitalism, the duo’s musical ethos is rooted in a desire for a better world than the one we currently exist in. This is the thread that connects the tracks on their upcoming EP, Heaven.

We think one of the best ways to get to know a band is by asking what music inspired them to write in the first place. We caught up with guitarist and vocalist Mercedes to ask about her “Five Favourites” – five tracks that have inspired Softcult’s songwriting techniques. Check out her choices below and scroll down to listen to Softcult’s latest single ‘Spiralling Out‘ at the end of this post…

 

1. Radiohead – In Rainbows
I can’t say enough about how much this album has influenced me. Since I first heard it I fell in love with Johnny Greenwood’s guitar work, Colin Greenwood’s basslines, and of course Thom Yorke’s hauntingly beautiful vocals and lyrics. It changed the way I think about groove, opening new possibilities on how melodic instruments interact with percussion, and creating melodies that stand alone yet fit together like the intricate pieces of a puzzle. Easily one of my favourite records of all time.

2. The Sundays – Reading, Writing & Arithmetic
This album is so enchanting and captivating for me. I’m drawn in by Harriet Wheeler’s delicate and dreamy vocals and David Gavurin’s shimmering, jangly guitars. Together they create an atmosphere that beautifully captures emotions like ebullience and pensiveness and balances them in such an introspective way. It’s very intelligent music that is also easy to listen to, which is a rare combination. It’s influenced my vocals and melody writing, as well as my guitar style and tone on our dreamier songs.

3. Deftones – Diamond Eyes
Deftones have SO MANY incredible albums, so it’s really hard to choose a favourite, but I think Diamond Eyes is one I keep coming back to because I love the dichotomy of heavy, crushing guitar and atmospheric, heavenly shoegaze ambience. Chino Moreno sings with such angst, yearning, and sort of this agonizing lustiness that I haven’t heard from any other vocals. It’s so expressive. It captures a very specific mood. It definitely has influenced our music in a big way.

4. Cocteau Twins – Head Over Heels
Again, just a huge influence on us in terms of atmosphere, guitar tones, vocals, and overall ambience. This record was so ahead of its time. I think it shaped the sound of dream pop and shoegaze a decade before that scene really bloomed. This record is enchanting and mesmerizing for me. It has a mystery to it. Elizabeth Fraser’s vocal style is a huge influence on me, as well as Robin Guthrie’s guitar style. I don’t think ‘Love Song’ would exist if I’d never been exposed to this album.

5. Bikini Kill – Pussy Whipped
While this album definitely has a different sound than anything Softcult has ever been influenced by musically, I cannot deny that I am deeply inspired by the lyricism and ethos of Kathleen Hanna. Kathleen is the woman who essentially founded the Riot Grrrl movement and zine culture in the feminist punk scene. Her activism through music is what inspired me to be in a band and to use my art to empower people, specifically women, non-binary and trans people.

I honestly try to channel her when I’m on stage, no matter how nervous I might feel. Her ability to channel righteous feminine rage and power into a movement that continues to fight for equality is nothing short of inspiring. We are HEAVILY influenced by Bikini Kill’s fiercely cutting and poignant lyricism as well as the riot grrrl aesthetic and culture that they founded in the 1990s.

Honourable Mention: My Bloody Valentine – Loveless
I feel it would be remiss if I didn’t also include My Bloody Valentine’s album in this list. Sorry, I know we were supposed to only pick five! But this album has so greatly shaped my guitar playing and Phoenix’s production in terms of creating a wall of sound with macerating fuzz into reverb the way Kevin Shields does. I just have to mention it or I couldn’t live with myself.

Thanks to Mercedes for sharing her Five Favourites with us!

Watch the video for Softcult’s latest single ‘Spiralling Out’ below
Pre-order Softcult’s upcoming EP, Heaven, here

Follow Softcult on bandcamp, Spotify, Instagram, Facebook & X

Photo Credit: Kaylene Widdoes

Kate Crudgington
@KCBobCut

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FIVE FAVOURITES: NEXT TO NADA

London-based noise makers NEXT TO NADA have been busy cutting their teeth on the city’s live circuit for the past twelve months. Formed of Leah Francesca (L. Francesca) Liddle, Thom (Tom) Oliver (Revitt), Georgie Bogle (Gigi Ruckus) and Jason Davies; together they create grinding, punk-infused anthems that reflect on the pent up frustrations of everyday life.

NEXT TO NADA will be self-releasing their upcoming EP, WHINE // MOTHS, on the 15th March, and they’ll celebrating their new record with gigs at The Finsbury Pub in Manor House on 13th April, and at the Dublin Castle in Camden on 30th May.

We think one of the best ways to get to know a band is by asking what music inspired them to write in the first place. We caught up with bassist L. Francesca to ask about their “Five Favourites” – five tracks that have inspired their songwriting techniques. Check out her choices below and scroll down to listen to NEXT TO NADA’S latest single ‘Whine, Lips’ at the end of this post…

1. Nick Cave and the Bad Seeds – ‘Hiding All Away’
I’ve not been a Catholic for a while, but I’ve got a real thing for songs that make me feel like I’m back in the pews. What actually goes on in Nick Cave’s songs is so straightforwardly rock and roll – angsty, sexy, cocksure – but in execution it sounds like it’s coming straight from Mount Sinai or Golgotha. Gospel choirs and everything! I will never forget hearing that almighty ‘There Is a War Coming’ in the outro for the first time. And yet it’s all rooted in the blues, in the same way The Stooges or Captain Beefheart were, it’s not trying to elevate its genre, just push it to its absolute limits. And for a track that’s so steeped in both high culture and low culture there’s such an intoxicating lack of self-deprecation; there’s no sense that Cave’s worried about coming across as pretentious or preachy. And I find that inspiring, I really do. I’m a melodramatic person, and nobody legitimizes melodrama like Nick Cave.

2. The Yeah Yeah Yeahs – ‘Dull Life’
I think it’s funny that “Pop Punk” is a specific genre, but the term could describe so much. I mean, isn’t that what New Wave is? Just taken as adjectives, nothing embodies “Pop Punk” to me like ‘Dull Life’ does. It’s hook after hook, but it’s dangerous and thrilling and it goes about being both in a really clever, imaginative way. They aren’t pop hooks, exactly; they’re written for riffs, not beats, but they manage to do what pop hooks do. I especially love the second verse, where you’ve got Karen O multitracking melodic singing over distant screams of the same lyrics – I want to do that on one of our songs at some point. NEXT TO NADA initially was way more Britpop influenced and got a lot heavier over time, but we still care about hooks and melodies, it’s just about making those work in the context of a heavy rock band. That’s something the Yeah Yeah Yeahs really understand.

3. Joanna Newsom – ‘Sapokanikan’
As far as I’m concerned, Joanna Newsom is the greatest lyricist of all time. Her imagery, her metaphors, even her rhyme-schemes are always so complicated and must box her into so many corners. But she always manages to write her way out of it, and leads the song on this merry chase through so many meanings and implications; I refuse to believe she was aware of all of them when she started writing. It’s so easy as a songwriter to compromise your structure by ignoring it for a bit in order to make sure you’re saying things right, but I think that that’s a mistake, because you discover so much by rising to your own challenges. I also love how geeky ‘Sapokanikan’ is, it’s full of references to American history and geography, and it’s such a great feeling to hear someone sing about something you’ve only ever read about in dry educational contexts and think… oh shit, that can be a metaphor!

4. Fugazi – ‘Bed For the Scraping’
The main way I write basslines is with a trick I call “lines and then coloring”. I start off with a jump of root note to octave to set the chord, and then “colour it in” with a bit of melody before landing back on the root in the next bar. That came from here. I’ve never wanted my bass to be the lead instrument, but I don’t really see myself as rhythm, either, I’m more like the guitars’ backing vocalist; I’m playing a melodic instrument but I have to step lightly with it, because everything I do sets the harmony. And Joe Lally is so good at working within that restriction. He barely ever follows the guitar in ‘Bed for the Scraping’ but as great as the bass hook is, it’s never just for itself. Plus he’s working with two guitarists, like I have to; he knows he can’t add too much on top, but he knows what space in the middle of things he’s been given, and how to use every inch of it. It’s amazing.

5. Hop Along – ‘Sister Cities’
I play in a real loud rock band but I think I have a very singer-songwriter-ish way of writing songs; it starts with lyrics, not riffs. Hop Along’s whole Painted Shut album is such a great reference point for that sort of thing because it sounds like you took an Elliott Smith record and wired it to some jumper cables. It’s a real gnarly album in a lot of places, and ‘Sister Cities’ is a highlight for riffs and solos, but even then they’re never leading the story, they’re just helping tell it. And the sound is so versatile. It could be a Dinosaur Jr song, but there are also songs on the album that feel like Phoebe Bridgers, and they still all sound like Hop Along. Also – Frances Quinlan has the most amazing voice I’ve ever heard. I can’t really say it’s an influence, cause the first year of me learning to sing was mostly spent accepting that I’ll never sound like they do, but covering this song on my old Squier strat during lockdown is where I started with all this.

Thanks to Leah for sharing her favourites with us!
Listen to ‘Whine, Lips’ by NEXT TO NADA below

Follow NEXT TO NADA on Spotify, bandcamp, Facebook & Instagram

Photo Credit: Elspey Photography

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