Track Of The Day: Keren Ilan – ‘This Morning, Yesterday’

I only heard this song for the first time a couple of weeks ago but it has already made it onto my latest personal playlist. ‘This Morning, Yesterday’ is the title track taken from Vietnamese, Tel Aviv-based Keren Ilan’s debut EP.

So full of rich emotion, delivered with indie guitars that leave you always wanting more, ‘This Morning, Yesterday’ is a firm favourite of mine right now.

Watch the video for ‘This Morning, Yesterday’ below:

 

Keren Ilan’s debut EP, This Morning, Yesterday, is out now. Find out more on Instagram and Facebook

Tash Walker
@maudeandtrevor

Photo Credit: Ariel Pedatzur

Track Of The Day: Junaco – ‘In Between’

Described as honeyed garage folk, duo Junaco hail from Los Angeles and have just released their latest single ‘In Between, taken from their recently released EP Awry, and I just can’t get it out of my ears.

Junaco are producing such a lovely, inviting, gentle and organic sound with ‘In Between’; this track especially seems like the perfect accompaniment to these endless summer eves, and I just can’t get enough of it.

 

Follow Junaco on Facebook, Instagram and Twitter for more details.

Tash Walker
@maudeandtrevor

Get In Her Ears x Songs of the Summer 18.07.19

Tash was holding fort in the studio this week playing all the latest new music favs from the Get In Her Ears crew from the likes of….Joviale, iD3, King Hannah and Nikita Bassi.

In addition she spun some of their Songs of the Summer from Ella Fitzgerald to The Selecter, listen back and start getting into the Summer vibeZ!

Listen back:

@getinherears
@maudeandtrevor

 

Tracklist

Planningtorock – Much To Touch

Fuck With Your Friends – Lala Lala

Anna Wiebe – I Felt It In The Wind

Velvet Volume – Pretty In Black

Elliot Lee. Entitled ‘Dirt’

Joviale – Taste of the Heavens

Chorusgirl – ‘In Dreams’

Hurtling  – Summer

Ella Fitzgerald & Louis Armstrong – Summertime

Joviale – Dream Boat

The Selecter – On My Radio

Isaac Delusion – Midnight Sun

Odesza – My Friends Never Die

Sui Zhen – Perfect Place

Daniella Mason – “Deepest of Wells”

Greentea Peng – Downers

iD3 – Joy of a Kind

King Hannah – Creme Brulee

Kitzl – Wizard Girls

Pip Blom -Tired

Nikita Bassi- Satin

Planningtorock – Let’s Talk About Gender

Track Of The Day: Hunger Moon – ‘Honey’

‘Honey’ is the latest single from alt pop duo Hunger Moon, and we’re loving its beautiful harmonies, accompanying keys and touching lyrics.

Written in the days after hearing about the death of Keith Flint from The Prodigy, ‘Honey’ deals with the subject of male suicide; a call to arms for listeners to talk to each other and check up on those around them. At Get In Her Ears we cannot echo that more, with rising rates of isolation, loneliness and mental health, we all need to look out for each other. The act of checking in with a friend can go so much further than we often realise.

 

‘Honey’ is out now. Hear more from Hunger Moon via Soundcloud.

Tash Walker
@maudeandtrevor

Guest Blog: SONA

Our latest guest blog feature comes from Sona, an Armenian DIY musician based in South East London. In conjunction with the recent release of her Pity Party record, Sona writes here about her experiences living in London as a foreigner and the impact that has had on her music….

 

24th June 2016. The day Brexit was announced. Britain divided into two, with hate crimes soaring within the first few days. And, tragically, my 20th birthday. A heaviness plagued the air, infecting the otherwise sweet summery breeze and smell of various lemon-flavoured drinks. Two years later, I began to truly realise how these events, and other experiences I had since moving to London, had affected me.

There are so many layers to being Armenian or an immigrant – I don’t want to declare anything I’m about as whole or concrete, and my experience won’t be the same as someone else’s. The fact that I pass as white gave me a degree of privilege from the discriminatory crimes resulting from Brexit, but I was still subconsciously ashamed of being Armenian in public. An irrational yet rational fear of being undermined, scrutinised, and my ancient language being mocked explicitly or behind my back. I came from an unapologetic and loud Armenian household, to somewhere, where self-expression and emotions were regarded as uncomfortable or only available when intoxicated – somewhere where docility was praised.

Being foreign isn’t new to me – I grew up in Prague -, but in a cosmopolitan city like London, my otherness was pushed to new levels. London is so diverse, yet so segregated at the same time, and the narrative around culture or race is still taboo. It was hard to find people who actively wanted to engage with my culture/foreignness and weren’t uncomfortable around it, which consequently made me fixate on what it meant to me. I started writing and recording music that reflected my culture shock.

Months later, as I scrambled for ideas for a university project, I realised I could merge what I love doing, which was recording music, with academia. What attracted me to DIY recording was its availability and portability. It’s evolution over time with DAWs and modern interfaces allowed me to craft all layers from scratch and witness their progress. Digitisation meant I could delete and restart and work at any pace. I found the basis of my analysis – the effect of current DIY recording technology on songwriting. As I researched, a time obscured in my memory by fruitless trips to the library and endless bagels, I came across “The Temporary Autonomous Zone” by Hakim Bey, a piece of writing about DIY culture that resonated with me. Bey claimed that the act of creative self-expression by minorities created a temporary autonomous zone; a literal or metaphorical space “like an uprising which does not engage directly with the State, a guerrilla operation which liberates an area (of land, of time, of imagination) and then dissolves itself to re-form elsewhere/elsewhen, before the State can crush it”.

Soon, these songs became a coping mechanism against the disillusionment and isolation I felt whilst living as an immigrant in the UK. In my bedroom in Deptford, I was creating my own temporary autonomous zone, where instead of the British government and Queensbray estate agents, I was in charge. Whether consciously or subconsciously, minorities are constantly trying to create safe spaces for themselves in the virtual, in public spaces, or simply within their homes. Therefore, I chose to keep each recording imperfection – to document that space within the interstitial, to transport the listener to my most vulnerable and intimate space. I experimented with temporality, with the shortness of the songs, as a response to the fast-paced listening and recording culture of our time – our processes are non-linear, fractured, and immediate, transcending any notion of form or time. It was also an homage to the small everyday moments of my life that had their roots in my otherness. I felt strangely liberated by my self-imposed time and volume limits and it was my small rebellion of self-expression that I didn’t feel confident vocalising in real life.

In April 2018, after decades of extreme corruption and unspeakable crimes by the government, Armenia underwent a peaceful political revolution, overturning the previously authoritarian regime. Watching these events unfold from somewhere, where Armenia is either associated with the Kardashians or completely unheard of, was excruciating. I wanted to release this project to transcend us from popular discourse and contribute to my culture the best way I knew how. In a way, I regret sharing this as I feel that the beauty of music lies in our own personal connections. To say my whole project is about my cultural identity would be false – it was just the backdrop to what I was writing about. I invite personal connections, but I hope this gives my audience, whoever they are, some insight into what it represents to me.

Huge thanks to Sona for writing for us. You can check out her music via Bandcamp.

WATCH: Amaal – ‘Coming and Going’

Amaal is Somali-Canadian artist Amaal Nuux who has returned to music following much time spent on her activist work as the Goodwill Ambassador for Somalia Women and Children. In her music, she draws influence from both her personal life experiences and her travels.

We’re loving the video of her latest single ‘Coming and Going’. It is quite the silky lustrous number, taken from her upcoming debut EP set for release this summer. Speaking on the track’s inspiration, Amaal shared: “’Coming And Going’ was inspired by a relationship that had no defining status. I think a lot of us have been in situations where we should leave but it feels so good to stay.”

We cannot urge you enough to go check her out.

‘Coming and Going’ is out now. You can find more from Amaal on InstagramTwitterFacebook

Tash Walker
@maudeandtrevor

WATCH: YALI – ‘Why Do Flowers Mean Love?’

YALI is a 24 year old singer-songwriter, pianist and producer from Israel. Her experimental style combines influences from Classical music, Jazz, and Electro-pop.

Latest single ‘Why Do Flowers Mean Love?’ constructs and deconstructs the artist’s portrait; an audio-driven collage of effects, glitches, artifacts and distortions reflect on the YALI’s background story and feelings, while writing and recording the track. Of the track, YALI explains:

“The glitch itself is the effect nature brings back to the digital perfection, forcing small errors and imperfections on all streams of data around us. Its complete randomness and chaotic action makes each glitch unique when created and embeds within the final visual content we consume so regularly everywhere around us. Making the final stage of delivery to spectators “damaged” with no way to control or avoid it.”

Watch the new video for ‘Why Do Flowers Mean Love?’ here:

You can find out more about YALI through  Facebook and Instagram.

Music & Production by Yali Blankstein. Mix by Roy Avital. Add. production by Stav Tell. Mastering by Jordan Schultz. Video Production by Phenomena Labs. Video Director Tom Uziel. Video Art by Ronen Tanchum. Makeup by Denise Ayelen Kohon. Thanks to: Ilya Marcus, Amit Einy, Tomer Rousso, Oded Granot, Shuz.

 

Tash Walker
@maudeandtrevor