LISTEN: Witch Weather – ‘Hazy’

Following on from their previous release ‘Don’t Need‘ – a brooding blend of grunge-infused riffs and punk attitude – Pennsylvania-based indie/punk/goth duo Witch Weather have shared their latest single ‘Hazy’. Taken from the band’s upcoming self-titled album which is set for release on 13th October, the track is a fuzzed up, buoyant reflection on seasonal mood changes and transient feelings of hopelessness.

Influenced by bands such as Siouxsie and The Banshees, Against Me!, Fugazi, Screaming Females and Depeche Mode, Witch Weather create “sad queer indie punk for your sad queer enjoyment.” Formed of guitarist & vocalist Kaitlynn Autumn and bassist & vocalist Juliann Frances, the duo work through feelings of confusion, frustration and self-loathing on their upcoming record, all aided by hefty guitar licks and rumbling bass lines. The lyrics on the album are also inspired by Kaitlynn’s experience of being a trans woman, learning to be confident in her identity and following her journey from “confused to closeted, to out and doing her best.”

On ‘Hazy’, the band reflect on feelings of self-hatred and the effects of seasonal depression, all underscored by Kaitlynn’s riffs, considered lyrics and Juliann’s thundering bass lines. “Hazy is a song meant for anyone who’s ever felt lost and directionless and maybe just doesn’t even quite want to be alive,” explains Kaitlynn in more detail. “The thought, ‘what am I doing here, how did I let myself get to this point’, was a pretty common one at the time that this song was written. Whether that thought be in reference to being at a truly awful job, stagnating in transition, or a whole host of other problems that were going on…”

“It was a challenge to write, but definitely something that was really rewarding and let us know that we were going in the right direction creatively. Lyrically it felt really cathartic to write as well, and is mostly in reference to a really tough ‘mental health relapse’ that happened over the winter. While that time is over now, the song still holds true and even as the writer, it keeps finding new ways to be relatable in day to day life.”

Listen to ‘Hazy’ below.

Follow Witch Weather on bandcamp, Spotify, Twitter, Facebook, Instagram & TikTok

Visit Witch Weather’s website here

Kate Crudgington
@KCBobCut

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LISTEN: Problem Patterns – ‘Lesbo 3000’ / ‘Poverty Tourist’

GIHE favourites Problem Patterns have returned with a double dose of delightful, disruptive noise on their AA single release ‘Lesbo 3000’ / ‘Poverty Tourist’. Taken from their upcoming debut album, Blouse Club, which is due on 27th October via Alcopop! Records, the Belfast-based Riot Grrrls tackle homophobia and working class appropriation on their anthemic new tracks. We can’t wait to hear both of them live when the band headline for us at the Sebright Arms in Hackney on 17th November (tickets are cheaper in advance and available from DICE).

Not defined by traditional band structures, Problem Patterns routinely switch up instruments and mic duties for their riotous songs, which always makes for a refreshing take on the subject they’re singing about. Following on from previous single ‘Letter of Resignation’, which saw guitarist Beverley Boal step forward on vocals, on ‘Lesbo 3000’ drummer Bethany Crooks takes the lead as she calls out the prejudices around homophobic language and reclaims it for herself and the LGBTQ+ community.

“‘Lesbo 3000’ was written partly out of frustration and also to reclaim and have ownership over my sexuality,” explains Bethany. “The frustration is that lesbianism is consistently invalidated, we’re told that we just haven’t ‘met the right man’ yet or that some random man in a bar has a magic appendage in his trousers that will completely negate your attraction to women. The reality is that homophobic attacks are becoming more and more consistent with right wing social media emboldening bigots, while ‘lesbian’ remains one of the top search topics on all porn websites. (Mostly) men think that lesbians exist for their sexual gratification, but if they see two women holding hands they go absolutely berserk.”

“I also thought it was important to reclaim the slur ‘dyke’,” she continues. “I’ve been called a dyke multiple times by homophobes who want to hurt me, but if I can reclaim that word it completely takes the power out of it. Yes I am a dyke. And that feels really powerful to say.” With the aid of some truly stunning local drag artists in the accompanying video for ‘Lesbo 3000’, Bethany and the grrrls gleefully dismantle these damaging prejudices and riotously reclaim the language that doesn’t belong on the tongues of ignorant bigots.

“We really wanted it to feel joyful and silly even though the song has quite a serious subject matter,” Bethany comments on the visuals, which were directed by long-time collaborator Brendan Seamus. “We decorated the set like a big gay party! We toyed for months with the idea of paying homage to ‘Addicted To Love’ and ‘Man I Feel Like A Woman’, and thought that involving local drag artists would be a perfect tonic to the constant depressing news cycles surrounding LGBTQ+ attacks and discrimination we see nowadays. Carl Hartt, Hester Ectomy, Xxxpresso Martini and FRUITY were the backing band and they all absolutely killed it. We are so grateful that they even wanted to participate in the video, and they really served 80s hair metal/bimbo/sexy punk realness.”

Problem Patterns are driven by a strong DIY ethos and as a working class band, they feel it’s important to call out the appropriation of this culture in the music industry and further afield. Their second AA-side track ‘Poverty Tourist’ does just that. Fuelled by the riotous dual vocals of Alanah Smith and Ciara King, as well as King’s potent bass line, the track is a Beastie Boys-style blast of pure punk catharsis that came about during the band’s final writing session before they recorded their album.

“We’re a working class band and there are experiences that are very unique to us which we have bonded over,” Alanah explains about the track. “It’s incredibly frustrating to see those struggles co-opted by folks who have never had to worry about money. The kind of people who will dig around charity shops to ‘curate’ bits for their Etsy store where they will sell these items at 10x the price. Charity shops exist to serve the community and there are people that depend on them because there are no other options. It’s the rich kids moving into impoverished areas to make themselves sound more interesting, driving up the rent and gentrifying the area.”

“This sort of romanticisation of the poor is very prevalent in the music scene, especially in bands (and industry types) who align a working class background with being perceived as more authentic. People dress up and change their accent for personal gain only, but as Jarvis Cocker once said, ‘If you called your dad he could stop this all’ – and of course, he also said, ‘Everybody hates a tourist.’ It’s cosplay, it’s gross, and it’s always obvious when someone is doing this.”

Fresh from performing live on BBC 6Music, supporting electro-punk icons Le Tigre on their Manchester and Glasgow tour dates and playing a knockout set at Brighton’s Great Escape festival earlier this year, it’s been a joy to witness Problem Patterns’ hard work pay off. Listen to ‘Poverty Tourist’ below and pre-order your copy of their debut album, Blouse Club, here.

Follow Problem Patterns on bandcamp, Spotify, Twitter, Instagram & Facebook

Photo Credit: Carrie Davenport

Kate Crudgington
@KCBobCut

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FIVE FAVOURITES: Scrounge

Since we booked South London duo Lucy Alexander and Luke Cartledge aka Scrounge as support for our GIHE gig at The Windmill back in 2018, we have been avid fans of their vital, frenzied art-punk sounds. Featured on our ‘Albums of 2022‘ list, their debut mini-album, Sugar Daddy, is full of gritty, relatable anthems that hit a nerve and showcase the passion and determination that underscores all that they do. The duo have always remained loyal to their DIY roots, and their latest single ‘Corner Cutting Boredom’ is accompanied by a limited edition flexi-disc and a zine that “documents and celebrates what’s going on south of the river” in a thriving underground music scene.

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 vocalist and guitarist Lucy to ask about her “Five Favourites” – five songs that have inspired Scrounge over the years. Check out her choices below and scroll down to listen to Scrounge’s single ‘Corner Cutting Boredom’.

 

1. Pavement – ‘Fame Throwa’
As soon as I met Luke at Goldsmiths, I knew that I wanted to be his mate. It might’ve been that he looked “dead indie” but I quickly found he is one of the most thoughtful and caring people in the world. Sometimes we’d swap song recommendations, other days we’d just have a few pints at the Marquis where we once talked about how South East London lacked a scene for guitar music, despite having so many amazing venues. At that moment, along with designer Amanda Tooke, we vowed to make our own collective to ‘Support South London and Support Your Mates’. We named it Fame Throwa after Pavement’s chaotic hit and that song inspired us to work together to run a night, radio show and record label. Although Fame Throwa is now dormant, it was our “in” to DIY activism and it introduced us to some truly outstanding human beings.

2. Italia 90 – ‘New Factory’
When we started Scrounge, we had no idea what we were doing; Luke didn’t know how to play drums and I played the acoustic guitar. We were constantly looking for nights – like Get In Her Ears – that we could perform at and bands we’d compliment on a bill. Italia 90 were recommended to us by our mate Ben so we booked them for a Fame Throwa night. We REALLY wanted to play a show with them and, as no one would book us, we decided to book them. ‘New Factory’ is a staple in their set and we’ve spent many nights shouting along to it in sweaty south London venues. This year, Italia 90 released their debut album, Living Human Treasure, and we were delighted to get a mention in the liner notes. As much as they like us, we can guarantee that we like them more and we’ll be forever grateful for their influence.

3. Piglet – ‘It Isn’t Fair’
Charlie Loane is one of South London’s most prolific performers. Over the years, we’ve watched him perform in loads of different bands but Piglet, Loane’s solo project, is utterly incredible. As an activist and beautiful songwriter, Piglet captures everyday life and the trans experience through his poignant lyrics. ‘It Isn’t Fair’ is not only anthemic but a real life representation of the awful standard of trans rights in the UK. Trans rights are human rights and as allies, we need to do better. This song is a call to action and a reminder that we can and must do more.

4. CHUNKY – ‘GNG’ (Guts N Grets)
When I first started performing at open mic nights as a teenager, I constantly sought new opportunities for young musicians. I quickly joined The Albany Theatre’s youth music group and was lucky enough to be mentored by some of the country’s most influential artists. Chunky, an MC from Manchester, mentored on the project and really believed in my music. He supported my early solo project, Fame Throwa and is equally supportive of Scrounge. Despite our genre differences, we’ve ended up working together on a few different projects and I’m in awe of his DIY attitude and work ethic. At the beginning of this year, Chunky released his long awaited debut album, Somebody’s Child, and ‘GNG’ is a standout single that really shows off the quick lyricism and sharp wit that inspired me as a young songwriter.

5. Kae Tempest – ‘Hold Your Own’
It feels like I’ve seen Kae Tempest perform a million times over the years and each performance is always as impactful as the last; it really doesn’t matter whether they’re performing poems, a play, or their music it’s always the same outcome. ‘Hold Your Own’ was a collection of poems by Tempest which I stumbled upon at university and the much needed catalyst I needed to truly accept myself for who I really am. The titular poem also features on Tempest’s album, The Book of Traps and Lessons, and is an aural reminder to persevere through adversity while remembering your own self worth. It’s a love letter to our shared community that I cherish.

Thanks to Lucy for sharing her Five Favourites with us!

Follow Scrounge on bandcamp, Spotify, Facebook, Twitter (X) and Instagram

Listen to Scrounge’s latest single ‘Corner Cutting Boredom’ below

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INTERVIEW: ALT BLK ERA

Formed of sisters Nyrobi and Chaya, genre-defying duo ALT BLK ERA create tenacious alternative tunes designed to showcase their vivid personalities. Inspired by the likes of Ashnikko, Hacktivist, The Prodigy and Billie Eilish, they blur the boundaries of pop punk, nu-metal, rap and electronic music to form their riotous sounds.

By combining jagged electronics, heavy riffs and racing beats with raging lyrics, the pair have created an alternative statement of self autonomy on their debut EP, Freak Show, which perfectly showcases their antagonistic, youthful spirit. We caught up with Nyrobi and Chaya to talk about their new release (out on 1st September), their recent performances at Reading & Leeds and Glastonbury, and the love they’ve received from fans who have discovered their music…

 

For anyone who doesn’t already know, can you explain how you came to be ALT BLK ERA?

We’re sisters from Nottingham and we have been singing together for as long as I (Nyrobi) can remember. It became a regular daily feature when we would do our chores, washing up, with music blasting from our Apple iPod. This is where we learnt how to harmonise so easily with one another.

I’m the chief song-writer (Nyrobi) however, I work best with my sister Chaya by my side. She’ll add key parts, change things or say a straight no – so it’s a dual process. We sound so different, and we have such different personalities that we have to work closely together throughout the creative process.

Your own music is a blend of lots of different genres (nu-metal, rap, pop punk, electronic/rave) – talk us through your process of combining these styles and merging them into your songs…

We grew up on Reggae, Soul and R&B – so these elements are at our core. However, we stumbled upon the world of Metal and DnB when we were trying to express something harder and edgier than what we knew.

We haven’t got a step-by-step process. We sit with a beat. We have a song title and theme and then we ride the creativity wave. If we hit a wall – we write something else and then come back to it later down the line. There’s no pressure. We have fun making our music and if we want to throw in a bit of opera – we do exactly that. If we want to throw in a few bars of rap, we do that. There are no rules. This works for and against us because the industry wants to give a title to what we do. At one point we felt pressured to label our music genre – but it isn’t one thing so we generally call it ‘Alternative’.

You’re gearing up to release your debut EP, Freak Show, on the 1st September. What are you most proud of about this release?

We love that the EP is a story of where we started from. Our feelings of sitting outside of the mainstream. It feels like we’re getting a lot off our chest and we’ve found that so many others relate to what we’re singing about. We’re still really young, so the school experience has been a major area of our lives. What’s amazing is how many older listeners share with us that they wish they had us around when they were growing up. This is what we are most proud of – being able to connect with a range of people who identify themselves in our music. All the songs have a slightly different twist on them, and there are a range of energies that we share – from defiance to empowerment, to encouragement and love of yourself and others.

Do you have a favourite track on the EP? If so, why?

We of course love every track on the EP, but Chaya holds a special place in her heart for the title track, ‘Freak Show’ and I am loving ‘I’m Normally Like This’ – but this could change. It depends where we’re at emotionally as each track can speak strongly to you at different times.

Your music and your aesthetic both make a strong statement about individuality and not being afraid to express yourself. How has this message impacted your listeners? Have people reached out to talk to you about these things?

It’s been so wonderful to see the reaction. Our music is about celebrating who we all are which we especially see when we perform live. We’re tired of the pressures to conform. There have been a few haters that can’t help but share their thoughts about us and what we stand for – but we forgive them because they maybe haven’t heard our lyrics where we say “We don’t give a damn if you like it!”

People are always reaching out to us. We talk about some deep issues in our music, including violence against women. We get so many comments and private messages from people who have or who are struggling with their mental health and self-love – who say our music is helping them. Parents and grandparents introduce our music to their children and grandchildren. People from marginalised communities reach out to us and thank us for making them feel safe and heard.

Older true Metal Heads tell us how much they love our music. Rap artists tell us that they love the music we are making. What’s also beautiful is how many people from the Black community reach out to us too. Either they’ve never liked Rock/Metal music before or they have not seen enough representation. This is clear in our live shows when there are so many people from different walks of life join us in one room.

You performed at Glastonbury and Reading & Leeds Festival this year! Talk to us about these sets… 

OMGosh! Glastonbury was a dream. We have so much love for Earache Records for taking a risk on two teenage girls and putting us on their Takeover of the Truth Stage at Shangri-la. The highlight was when we looked over at each other in the middle of our set and we both knew what the other was thinking… “It’s really happening!” We were so happy.

We headlined the BBC Introducing stages at Reading & Leeds Festival. Again, another dream come true. We just wanted the audience to enjoy themselves and feel part of something new. We had people screaming back at us and joining in the chants it was spectacular. We’re still processing the experience.

You played live for Get In Her Ears supporting STRAIGHT GIRL in July and we loved your set. What do you enjoy most about playing live?

We love seeing the energy of the crowd. We love how we take them through different mood states and how we all experience it together. From soft, weird, to full out moshing. Live is the most wonderful thing! Thank you for having us! (see pics of the night here)

What does the rest of 2023 hold for ALT BLK ERA?

We have a few things lined up. We will be supporting Lord Of The Lost at the O2 Shepherd’s Bush Empire – this is another massive step for us and we’re so excited for this. On the 3rd November we have our headline show in Nottingham, where we will also be sharing music that we plan to release in 2024. It’s going to be a full on party!

Finally, as we’re a new music blog, we always ask for new music recommendations. Is there a band or artist who you’ve been listening to lately that you’d like to give a shout out to?

We have three we’d like to mention: PleasePretty Lea, Gender Crisis and Ruena. Do not sleep on these artists!!!

Follow ALT BLK ERA on bandcamp, Spotify, Tik Tok, Twitter (X), Instagram & Facebook

Photo Credit: Fabrice Gagos

Kate Crudgington
@KCBobCut

Kate Crudgington1 Comment