Introducing Interview: Chinah

Fresh off the back of their latest single ‘Real Thing?’, we caught up with Copenhagen based Chinah in the run up to their London show at Bermondsey Social Club on 13th November.

Hi Chinah, welcome to Get In Her Ears! We’re loving your latest single ‘Real Thing?’, which we’ve played on the radio show, can you tell us a bit more about this song?
‘Real Thing?’ is a song about choosing to be lazy with your integrity because you long for intensity, and explores the feeling of experiencing a sense of “dominance within the submission”.

Your newer music has a much more evocative feel to it, each song creating its own individual atmosphere, with an almost hypnotic element… Is that something that you are consciously trying to create?
We try to make each song unique whilst still having something in its essence in common with the other songs on the album. The philosophy perhaps. But for everything beyond that, we like to allow ourselves to experiment and try different things out. We’re having fun with it. So yeah, the shifting moods and the different mixes of genres on the album are sort of an expected result of us staying curious and insisting on not limiting ourselves in terms of genre.

Previously you’ve spoken about seeing music in terms of contrast and dynamics, which is a refreshingly realistic way to describe the artist and the listener’s interaction with music, rather than by the constraints of labels. Could you expand on that a bit?
This last year we’ve been experimenting a lot with mixing genres, both within the length of a song and on the album as a whole. Likewise, we knew from the start of working with Anyone, the album, that we wanted it to be somewhat unpredictable. We prefer not placing ourselves into just one genre that has too narrow of a ruleset. In a sense, not defining our music too precisely prevents us from constraining our creativity, in that we might not try to “live up” to a made-up idea of what our music is or isn’t.

You’re about to embark on a tour of Denmark, but before you do you’re going to be stopping over here first at the Bermondsey Social Club on 13th November! Are you looking forward to playing London again?
Definitely! It’s been a year since we played in London, so coming back now with new music feels just right. We’ve played in London a few times before, and we always felt a very supportive atmosphere at our concerts and beyond. Hopefully the Londoners will dig the new music as well

Anyone, the upcoming album from Chinah, is out this Friday 9th November. Vinyl pre-order here. And you can check out Chinah live at Bermondsey Social Club on 13th November – tix available on DICE.

Introducing Interview: Martha Hill

Fresh off the back of her second single ‘Wallflower’ being released, we threw some questions to Martha Hill, and were happily introduced to her excellent playlist ‘Women Are Mint‘, which we have firmly on repeat!

Welcome to Get In Her Ears! Can you tell us a bit about how you got started as an artist?
Thanks for having me! I just kind of stumbled into it. First as a hobby, but then it became a lifestyle – I was travelling around quite a bit and busking was how I got by.

You are originally from Scotland but left at 17 to travel across Europe busking. That must have been quite an eye-opening experience at 17?!
It was great to mission about and do loads of different things. I also got to play in different countries with a wide variety of musicians like Italian jazz flutists or old Spanish drummers – it definitely shaped me and the way I approach music.

And you are now living in Newcastle, what were your reasons for moving there? What’s the music scene like there?
My cousins are from there; my cousin Wilf (Dansi) is a musician, and I’d grown up having wee jams with them. They seemed to have this lifestyle that was a million miles away from what I knew, so I moved to be closer to them. The Newcastle music scene is incredible! It’s proper underground – you hear about Manchester’s scene a lot, or even Leeds, but rarely Newcastle’s. I feel like we all look out for each other a lot and support each other. Check out my Spotify playlist ‘Women Are Mint‘. It showcases female musicians based in the North East.

We’re loving your latest single ‘Wallflower’, which we’ve played on the radio show, can you tell us a bit more about what inspired this?
My inspiration for this track came when a friend jokingly called me a wallflower (I’m not the quietest on a night out). I remember thinking that just because I’m loud, it doesn’t mean I’m unobservant, and sparked off a want to explore the different characters people wear. ‘Wallflower’ is a tongue-in-cheek song about the introvert hidden within every extrovert, exploring the different characters that each of us invent for ourselves. It also touches on subjects such as conformity and social anxiety.

 

Your first single ‘Spiders’ was received really well getting played on BBC 6 Music – that must have been pretty great?
Yeah it was surreal! Massive thanks to Tom Robinson for playing it.

How has your year been on the festival front?
Amazing. I had a really great show on Solfest mainstage, also at Camper Calling and Big Feastival. I always love wee Lindisfarne Festival – just a bunch of geordies in a field! I used to play trombone in a few festival bands, and my girlfriend runs a stall called the Canny Bonny Boudoir, so festivals are home turf for me haha.

You’re about to embark on a tour all over the UK including the Hope & Anchor in Islington on 2nd November? Are you looking forward to playing London again and how would you describe your live shows?
Yeah I love playing live. I’m a live musician before a recording artist definitely. I particularly love playing in smaller, more intimate venues where I can engage with the audience on a personal level.

What’s 2019 got in store for Martha Hill?
I recently got granted some funding from PRS Foundations Women Make Music, so I’m going to use that to get back into the studio. Definitely more live shows! Who knows really. I’m gonna keep creating music and seeing where it takes me.

Finally as we’re a new music focused site, are there any other new/upcoming bands or artists you’d suggest we check out?
Dansi are well worth a listen to. Also I know Me Lost Me is about to release her debut album and she’s incredible! As I said – check out my Spotify playlist ‘Women Are Mint‘ – a lot of hidden gems in there.

Huge thanks to Martha for answering our questions!

Check out Martha Hill live at the Hope & Anchor on Friday 2nd November!

Guest Playlist: Jo Quail

In the run up to acclaimed composer and virtuoso cellist Jo Quail‘s new album Exsolve, we asked her to put together a playlist of the artists and tracks that have influenced her throughout the years.

Watch Jo Quail’s trailer for the album here, with an excerpt of the track ‘Mandrel Cantus’:

Artists / Tracks that have influenced me:

Dead Can Dance – ‘Song of the Sybil’
My cousins playing this whole album to me when I was maybe 12, sitting on the steps outside their flat on a warm summer night. This careful, simple yet wholly powerful arrangement has stayed by my side over the years.

G Tom Mac – ‘Cry Little Sister’ (from The Lost Boys)
I remember watching The Lost Boys for the first time as a kid, and immediately rushing upstairs to the piano to play this theme back. I still love this track today (and the movie!).

Jane’s Addiction – ‘Three Days’
Perry Farrel’s vocals are unbridled in an almost animalistic fashion and this gives such space, it removes boundaries of precision in a way, yet there is so much precision in the whole track. It creates a kind of virile rawness that pervades ‘Three Days’, and much more of their music too.

Tchaikovsky Symphony No.6 – ‘Adagio (final movement)’
I have to listen to this periodically. There’s an incredible YouTube performance conducted by Myung Whun Chung that I often visit. The whole symphony is stunning but this movement especially has a place in my heart. I played this years ago and for the first time felt the true power of a symphony orchestra, and knew first-hand the absolute intention in the weight and heaviness wrought from the instruments and performers.

Saul Williams – ‘Twice The First Time’
Awesome track. He’s mesmerising in live performance and has a real breadth to what he does in terms of arrangement, as well as brilliant lyrics. Watching him open for Nine Inch Nails was a huge and profound learning curve for me.

Ratt – ‘Round and Round’
I love Ratt for several reasons but in this track it’s the drive and the kind of confident (hedonistic!) attitude that pervades the writing and the live show too, it delivers in droves!

Arvo Part – ‘Fratres’ (for strings and percussion)
When I first heard this in concert I was completely moved. The harmonic movement of the strings, the rhythmic unison, coupled with the constant pedal A sparse and profound percussion. This is pure beauty.

Manuel De Falla – ‘Asturiana’
Beauty, grace and elegance. I have played this arranged for cello and piano, and also arranged and performed it as a cello quartet in a concert a few years back. The harmonies are close, and there is a gentle almost omnipresent movement in the piano or guitar underpinning the voice which, when it pauses, creates the most powerful space in the music.

Lana Del Rey – ‘Summertime Sadness
At home people like the Cedric Gervais remix particularly! The whole remix concept has influenced me a great deal, especially in the way I’ve dealt with pieces like ‘White Salt Stag’ in live performance, bringing the pace up a bit and making fuller use of percussion to drive things along, cutting things out or apparently ‘splicing’ them sonically speaking – changing bowing or phrasing to get a very different feel from a track that I’ve felt has been less settled previously.

Huge thanks to Jo Quail for selecting these tunes for us! Listen to them in our Guest Playlist here: 

 

Jo Quail’s upcoming album Exsolve is out 2nd November. 

Guest Blog: Artist Manager, Ella Gregg

In a new guest blog feature, 20 year old Ella Gregg shares her experience of being an artist manager, and her journey to get there… 

I began my career as an artist manager at the age of 18, almost completely accidentally.

Since the age of 15, I have always had an interest in emerging artists – listening to music by artists who people had never heard before, like knowing a secret that no one else knew.  Through social media platforms such as Twitter, I was involved in a community where new  artists were fighting for your attention and craving your support, and I began heavily supporting the artists I had discovered who I knew were worth supporting and putting my time into. I would promote these artists on social media and, without really knowing, I became a semi-guru in new music; artists would then start asking me to promote them in the same way I had promoted other people.

At the age of 17, I had just finished my A Levels and, after being a police cadet for 5 years, I was adamant I was going to take a gap year before joining my local police force. However, this didn’t go to plan. In the Summer of 2016, I was approached by artist development platform Secret Sessions, run by Harriet Jordan-Wrench, to join the team as an unpaid intern for the Summer. My role would be to invite emerging artists to join the platform which gave them the opportunities to apply for live shows and sync deals that the platform had on offer. I would have input in curating the secret live shows and choosing artists who would be appropriate for the opportunities we had available. To be able to have such an immediate and beneficial part to play in artists’ careers was incredible and I was completely in love with my job. I stayed at Secret Sessions a lot longer than just the Summer, scouting and working with over 1000 artists in 18 months.

Working and discovering new talent every day meant that I was going to come across gold dust and I did so in a band called Blushes. Their music was incomparable and I spent hours watching videos and listening to their music in awe. The band put me in contact with their manager at that time, and I set up a meeting with him for the next day. I explained what Secret Sessions did in depth and how I would love to have got Blushes involved, but instead he asked me if I would like to begin working for his management company, working alongside himself and Blushes.

So, at the age of 18, I began working with Blushes as their booking agent. I had absolutely no experience or contacts in booking gigs, but I wasn’t scared to learn on the job and I booked the band numerous shows, as well as their first UK tour. Within the first 6 months of managing Blushes, they completed their first UK tour, they had been featured by NME and their track ‘To The Bone’ had been played on BBC Radio 1. The great publicity and support from NME didn’t end there, Blushes have been featured in 2 separate articles since the first, they have been featured in NME’s 100 Artists for 2018 list, and they have had a 4 page spread in their magazine. With this confirmation that, hey, maybe I’m not doing too badly after all, I decided to set up my own management company and officially manage Blushes under my own name, with my own company – 321 Artists.

I’d be completely lying if I said it had been easy. Being a young artist manager with no experience is HARD. I’ve never made a huge thing of my age or gender in the work I do, but there have been many occasions where I’ve stopped and thought “Would you be speaking to me like that if I was 40 year old man?” because sometimes I feel as if that’s what it comes down to.

I’m in an incredibly fortunate position to be in such an impactful industry at such a young age, and I know I have a very long way to go, and a lot to learn, and I was very lucky with how I ended up working in the music industry. If I hadn’t been scouted, I don’t know if I would have been able to navigate the different avenues to get into the industry. That’s why my aim with 321 artists is to work closely with colleges and schools, giving young people the opportunity to experience the music industry – helping the next generation
of photographers, journalists, producers and artist managers to find their way into
the music industry.

Huge thanks to Ella for sharing her experience with us! Find out more about her company 321 Artists here

 

Track Of The Day: hear – ‘Oysters’

I’ve found a new addiction and it comes in the form of new musical project hear with their dark, hypnotic, lyrically enchanting music. ‘Oysters’ in particular stood out to me with its poetically pertinent messages of sexual perversion, discovery, frustration, desire… “did it please you well? to see her hanging there”.

It’s hard for me not to draw parallels to early Savages, however hear are of course distinct in their own version of post-punk. hear is a musical project from Jorinde Croese and Natalie Connlly who aptly say “… we’re not quite sure how to classify – labels perhaps feel a little old, and the music doesn’t quite come from obvious reference points, at least not for us.”

Without a doubt hear are now firmly on my ‘Ones to Watch’ list, fingers crossed for some live dates soon.

 

Tash Walker
@maudeandtrevor

Photo Credit: Markn Ogue

 

 

 

Introducing Interview: Delhia de France

Electronica artist Delhia de France has just released her debut EP, Morai. We caught up with Delhia de France to talk about the release, the inspiration behind the name (Greek goddesses of fate representing divine feminine power), fossil waterfalls and so much more…

Welcome to Get In Her Ears! Can you tell us a bit about how you got started as an artist?
Hi Ladies thanks for having me! The music was always there: I had piano lessons at age 7, wrote my first song at 10 and had classical singing lessons at 15 which was when I also started my first band – a hiphop project with 2 Mc’s, a DJ and me. I went on to study design to have a possible alternative until I realised that I didn’t want any plan b.

You are described as a ccollaborator, producer, songwriter and visual performer – do you feel you identify more strongly with one particular creative arm, or do all these aspects of your life influence the other?
I´d say music is definitely the core but I love to express myself in any way I feel.  Ultimately I am interested in creating a whole world, a gesamtkunstwerk if you will. And yes they definitely influence each other, like, when I write I always see images with it or I write from an image.

You are originally from East Berlin, what was it like growing up there in the ’90s after the wall came down?
Well, I was very little and of course didn’t realize what that meant at the time but in retrospective I think the vibe was feeling free on one hand but also very confusing and insecure on the other hand ’cause nobody really knew what was going to happen…  The millennium for me was a wild time, growing up between all these subcultures of hiphop, techno and drum and bass. Nobody really cared we were just having fun.

I read that you completely lost your voice at 17, starting therapy to try and recover it? That must have had an incredible impact on you both physically, emotionally and creatively?
Oh definitely, I thought I would never be able to sing again. You feel helpless surrendering to your body. On the other side it was a chance to learn how to be careful with myself, my body and my mind. A lot of it was fear. I believe that most of our illnesses are deeply rooted within our mind, manifested pain in a way.

We’re loving your latest single ‘Waterfalls’ at GIHE HQ, can you tell us a bit more about what inspired this?
When I write I mostly write on in sounds. I would come up with something completely different if I´d play chords on a piano than on a certain synth. With waterfalls the sound felt so watery and the word waterfalls popped pretty quickly while Lester and me where Jamming, and then I just followed that image.  I had recently visited a fossil waterfall and the deep canyons of water and sanded silky stone were such a strong picture – incredible force yet such gentle form. I guess that inspired the song.

And the single is part of your upcoming EP Moirai set for release ‪on 13th July, how would you describe the themes of this record?
The Sound of the EP is electronic but warm and organic, yet dark and melancholic. I guess thats just something I am really drawn to. I like playing with textures and vocal layers and Robot adds his magic with his signature hypnotic beats and baselines. We both love detailed and rich sounds. The visual theme evolves around the Moirai, the three goddess sisters from Ancient Greek, weaving mankind’s destiny. I have always admired greek philosophy and mythology. I like how it is explaining mundane concepts with divine intention and I think thats not only beautiful but consolidating in a world striving for meaning and being obsessed with the material.

The EP was made in collaboration with Grammy winner Lester Mendez and Robot Koch, how did you find the creative process working with such renowned people?
I wrote all tracks together with Robot Koch except for waterfalls, which we wrote together with Lester. Robot and me have been working together for a while but I think this project has been quite challenging for both of us as I would also be co-producing most of the songs.  I am blessed to be able to work with someone who gives me so much freedom and encourages me to go down my own path.  Writing with Lester has been equally amazing, he is the most humble and kind person. His studio is full with synths and instruments, so we would take bits and pieces from digital and analogue gear, record sounds on his modular and Robot even played drums. Both Robot and Lester work very fast which was a bit hard at times for me as I would need my time to retreat to writing the lyrics… mixing especially is quite a difficult process for me, which Robot and I did together.

Throughout your music career you’ve collaborated with numerous people, do you have a particular project that you are most proud of?
One of the highlights definitely was playing with the MDR Symphony Orchestra and the Stueba Philharmonie together with my band project Pentatones. Also when Sony used the song I made with Robot Koch and Savannah Jo Lack for their worldwide ad campaign.

What are the differences between the music scenes in Berlin and LA?
I think Berlin in general has bit of rawer, darker vibe and you can feel that in the music.  It’s much more electronic dance music oriented which makes sense given the dark winter months here. Total opposite to the eternal sunshine of LA which mirrors in a rather positive and warm sound I think.

As a visual performer, can you tell us what can fans could expect from your live music shows? 
I want people to enter a different world for a bit and I am now shaping that world. It probably will be very stripped down at first but for the future I envision a raza immersive and performative live show.

More importantly are you planning on coming to the UK anytime soon??
Definitely wanna play the UK, but nothing concrete yet. Stay tuned!

Finally as we’re a new music focused site, are there any other new/upcoming bands or artists you’d suggest we check out?
I’m lucky to be surrounded by some amazingly talented people, especially women. My LA friend Drum&Lace has just released two beautiful ambient songs, RYAT, also from LA, who has already released on Flying Lotus label… Brainfeeder will drop some unreleased material in the summer and another close collaborator, violinist Savannah Jo Lack will release her neoclassical debut in Autumn… And if you haven’t heard yet about Perera Elsewhere from Berlin you should definitely check out her trippy doomfolk productions.

Morai, the debut EP from Delhia De France, is out now via Trees and Cyborgs.

 

Track Of The Day: Matilda Eyre – ‘FYA’

‘FYA (For Your Approval)’ is the debut single by London-based German artist Matilda Eyre. We’re really enjoying this dark but delicate musical to ode to self worth, inner joy and ferocity. Eyre’s gently croaked vocals soar over the stripped back percussion and whirring synth laden bass… 100% approval from us here at GIHE!

 

Follow Matilda Eyre via Twitter and Instagram for more updates.

Tash Walker
@maudeandtrevor