LIVE: All Points East Presents Outbreak Fest

Having enjoyed immense line-ups at All Points East over the last few years – including being blown away by legends like Sleater Kinney, Yeah Yeah Yeahs, Gossip, The Strokes and The Postal Service, to name a few! -, I was super excited to be able to head back to the increasingly desert-like terrain of Victoria Park to catch some incredible bands for their Outbreak Fest showcase last week.

Thankfully, I arrive just in time to catch Philadelphia’s Mannequin Pussy on the West stage, who I’ve been meaning to see for a couple of years now, as a big fan of their raw, emotion-filled punk anthems. Despite experiencing “every band’s worst nightmare” with an amp blowing up after the first song, Missy and co aren’t deterred, and – after a short interlude and plans to send FX Amps “a strongly worded email” – they blast straight back into an energy-soaked rendition of 2024’s ‘I Got Heaven’. Immersing the crowd in their gritty, swirling energy and fierce charisma, the band slow things down slightly as they dedicate the impassioned sentiment of ‘Control’ to the “fellow girls in the audience”, before raging back into the angst-driven power of anthems such as ‘Pigs Is Pigs’. A perfectly energising and empowering start to the day before I dash off to the ‘Rising’ stage to catch the last few songs of another incredible band…

© Khali Ackford

A ‘supergroup’ of sorts, formed by Tummyache’s Soren Bryce and Daniel P. Carter (known for hosting Radio 1’s Rock Show), Reclus.É have been on my ‘must see’ list since first coming across their immense debut single ‘A Muted TV’ a couple of months back. And they don’t disappoint. Oozing an utterly captivating seething emotion throughout, Bryce flits between a raging energy and soaring majestic splendour, delivering each powerful offering with a fierce sense of urgency and spellbinding allure. And, closing the set with an impassioned and poignant call to “Free Palestine. Fuck Trump, Fuck Nigel, Fuck any rising fascists… We’ve got to stick together”, Reclus.É instantly cement themselves as new favourites; a band creating hard-hitting genre-defying anthems whilst not being afraid to speak out against those in power, at a time when this is more important than ever. 

After squeezing into the youthful crowd around the X stage to catch some the buoyant energy of LA’s Clarion‘s first ever show in England – “let me see you fucking jump!”, I treat myself to the “life-changing” experience of an extremely tasty vegan burger from The Hogless Roast before heading over to the main East stage for a welcome wave of nostalgia for a few songs from the timelessly cool, forever lovable Interpol. After singing along to classics like ‘Evil’ and ‘Obstacle 1’,  we race back over to the X stage for the last couple of songs from South Africa’s Ecca Vandal. And, although I’m only able to catch the end of her set, I’m instantly blown away by her immense swirling energy and raw power. I hope she returns to the UK soon!

Returning to the West stage for a punk-fuelled trip down memory lane, getting to witness AFI live for the first time feels pretty special. As they kick off with ‘Girl’s Not Grey’, I’m instantly transported back to being 17 and listening to a recorded cassette of Sing The Sorrow on repeat and – although admittedly I stopped following the band as I got older – the fierce, enthused spirit and colourful charisma of front person Davey Havok and tight musicality of the band still resonate deeply, especially as I find myself remembering all the words to 2000’s ‘Days Of The Phoenix’.  

Rushing through the dust back to the East stage, I make my way through the adoring crowd just in time to join everyone in singing along to ‘You Should Not Be Doing That’ as Amy Taylor and co. (including temporary bassist Lakota Vella) command the stage as if it’s where they’ve always been meant to be. Having fallen in love with Amyl And The Sniffers back in 2023 when they played a very wet West stage (read our review here), I continue to be awe-struck by their raging ferocity and Taylor’s utterly beguiling playful allure as they power through an eclectic set of offerings from each of their three albums. From the racing energy of 2021’s ‘Security’ and ‘Guided By Angels’, to the raw tenacity of earlier anthems from their 2019 debut like ‘Got You’ and ‘Some Mutts Can’t Be Muzzled’, and the catchy empowering spirit of faves like ‘Me And The Girls’ and ‘Tiny Bikini’ from 2024’s Cartoon Darkness, every single song emanates a completely infectious joyous allure. Alongside Amy’s trademark cheeky, girlish allure, however, are songs with a real resonance and sense of rebellion, highlighted by her between-song chat which fluctuates between that teasing charm and poignant statements like “No future: that’s what we’re gonna have with all this heat and shit – fuck that.” And, dedicating the more mellow ‘Big Dreams’ to “all the queer people, all the trans people, and all the voices being silenced”, she doesn’t hold back in calling for a “Free Palestine and fuck all this right wing shit. We won’t stand for it.” Her consistently fearless attitude and boundless energy for using her platform to speak out for what’s right only adds to the huge love and adoration I (and evidently the rest of the crowd) feel for the band, and – as they end the set with the frenzied rage of ‘GFY’ – I’m left feeling grateful that powerful women like Amy are being given a platform to say what needs to be said, and being able to be their completely awesome selves on stage, no doubt inspiring and motivating countless young women and queer people to do the same. 

Next up, it’s back to the Rising stage to catch Dublin ones to watch Brooki. Having built a reputation purely on the power of their live shows across Ireland and UK, they immerse the crowd fully as they deliver soaring vocals and dark hooks, and I instantly understand the hype. Whilst this young band have not yet released a single, they have managed to build an impressive following through word of mouth about these incredible live performances, and now – having witnessed their soulful, grunge-fuelled power and gritty majestic allure in the flesh – I can completely understand why. Keep your eyes and ears peeled for Brooki – I’m quite sure they’ll be headlining events like this in the not too distant future. 

As the sun sets over Victoria Park and an orange dusky (/dusty) glow settles, I head back to the main East stage for the day’s headliners. Having initially delved into Deftones in an attempt to impress a guy I had a crush on who had an Around The Fur t-shirt when I was about 15, I continued to spend a great deal of my teen life absorbed in their music, and have continued to seek refuge in their angst-driven alt-metal soundscapes well into adulthood, though have never had the opportunity to see them live. Until now, 25 years later. Despite having a beer can thrown at my head (another, less welcome, blast from the past), I’m not disappointed. Far from it. Kicking off with personal favourite, ‘Be Quiet And Drive’,  Deftones deliver an incredible, and varied, set; the sound is full and rich, the energy and enthusiasm of Chino is high, and the atmosphere in the crowd is equally excited. As his silhouette bounds across the stage throughout, thanking us for coming and commenting on what a great day it’s been “filled with beautiful people and beautiful music”, I’m grateful to finally be seeing a band who’ve meant so much to me over the years, for whom my love has long outlasted that t-shirt guy… And, hearing 50,000 people yell “Shove It, Shove It, Shove It!” in unison along with the band, so long after it initially blasted through the earphones of my CD walkman, is pretty special. 

So, thank you All Points East for curating what felt like a really special day all round. A wonderful mix of nostalgia and completely fresh new music, the organisers have managed to balance showcasing established ‘legends’ and bigger names, whilst giving a platform to newer, upcoming bands; and all who seem perfectly in-keeping with the mood of the day, building up to Deftones’ headline set.

Words: @marigetinherears
Photos: @khaliphotography (Mannequin Pussy), @perry_gibson (Amyl & The Sniffers)

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PLAYLIST: August 2026

The Get In Her Ears team have put together another marvellous mix of new music for your listening pleasure! Our August Playlist features plenty of eclectic alt-pop tunes, DIY punk anthems, alternative riffs, indie & alt-folk musings, as well as some experimental and electronic sounds. We’ve also included some tributes to the late Dolly Parton and L7 bassist Jennifer Finch. Make sure you scroll through and read all about our recommendations below.

In order to best support the female, LGBTQIA+ and non-binary artists that we love here at GIHE, we’ve moved away from using Spotify. We now have an account on TIDAL, so please follow us on there. We’ve also included YouTube or bandcamp links for all of the tracks below, so there’s plenty of ways for you to get your new music fix.

You can still access our GIHE profile on Spotify (which we do not have a paid subscription for) but we urge you to use TIDAL, bandcamp or YouTube instead. 

CLICK HERE TO LISTEN (TIDAL)

 

Dolly Parton – ‘Coat Of Many Colours’
Like probably everyone who follows us, I was heartbroken to hear the news of Queen Dolly passing away this week. Although it may seem odd to grieve someone you never knew personally, I think it was easy to feel a connection with Dolly and a resonance to her radiant infectious joy and spirit. She really was such a huge inspiration – not only an incredible songwriter, performer and iconic woman until the very end – but such a wonderful advocate and supporter of marginalised communities. She was also the perfect example of how you don’t have to give birth to a child to be a mother figure. She cared for and actively helped so many children and young people throughout her life. I feel incredibly lucky and honoured to have seen her live at Glastonbury in 2014, a completely joyous experience and life highlight that I don’t think I’ll ever forget. She performed with such a playful energy and sweetness and her cheeky humour and incredible talent shone throughout, especially when she played the Benny Hill theme song on her mini saxophone!.
(Mari Lane – Managing Editor)

Aether Speaker – ‘Golden Hour’
A gorgeous piece of indie electro-pop here from London-based band Aether Speaker. ‘Golden Hour’ is full of front-person Yel’s soft, breathy vocals, underscored by hazy synths and gentle beats. The band explain that their psychedelic new offering is “poised between one world and the next, between soothing words and the truth” – delighting in ambiguity and lingering in the romantic ether. (Kate Crudgington – Features Editor)

Squirrel Flower – ‘Cleveland’
A beautiful ode to its namesake and the comfort of domesticity, ‘Cleveland’ is the latest single from Chicago based artist Ella Williams, aka Squirrel Flower. A song originally written with her her family band (the brilliantly named ‘uncommon rat’), it oozes a twinkling sentimentality and sense of nostalgia as Williams’ rich distinctive vocals flow, creating a heartfelt slice of Americana. Say A Prayer To The Gods Of Getting Going, the new album from Squirrel Flower, is out now via Polyvinyl Record Co. (ML)

Grandmas House – ‘Dance’
Congratulations to long-time GIHE faves Grandmas House on the release of their debut album! The Bristol band’s LP Baby You’re A Winner, released via Brace Yourself Records, is a superb amalgamation of their skill for writing urgent, cathartic anthems which reflect both the “light and dark” of the times that we live in. This track ‘Dance’ encapsulates that theme deftly, with Yasmin Berndt’s uniquely raspy vocals leading the charge as the band urge listeners to dance the pain away. (KC)

GRAVE GOODS – ‘Grit’
Based between Manchester and Dublin, experimental duo GRAVE GOODS create distinctive, primal sounds that examine the grind of modern existence. On this track ‘Grit’, Lois Macdonald (Guitar/vocals) and Sarah Grimes (drums/vocals) reflect on the the “existential disgust” that comes from separating the animalistic parts of ourselves in order to fit in with societal expectations. It’s a fascinating concoction of spoken-word-style vocals, contrasting beats and quirky riffs. The track also features the eponymous lyric of GRAVE GOODS’ upcoming album, Reality, Swallow Me., which was written and recorded to analogue tape at Analogue Catalogue Studios, with engineer and producer Julie McLarnon (Brighde Chaimbeul, The Altered Hours, Lankum). The LP is due for release on 25th September via bandcamp. (KC)

Trusselina – ‘Gastro’ / ‘Trusselina Archimboldi’
Philadelphia-based duo Trusselina are a new experimental pop project, formed of Mikaela Oppenheimer (Hello Mary) and Hayden McGarvey (Bleary Eyed). Together, they create jagged, intriguing soundscapes that blend acoustic and electronic elements, incorporating their love of ground-breaking literature, collaboration, and even their experience of food poisoning – which their double single release confidently covers. ‘Trusselina Archimboldi’ is inspired by a passage from Djuna Barnes’ acclaimed 1930s novel Nightwood, which is considered a prominent piece of early lesbian literature. The beat for ‘Gastro’ was concocted when Hayden was in the midst of an episode of food poisoning whilst on tour in France. I’m enjoying the eclectic nature of Trusselina’s sound and look forward to hearing more from the duo soon. (KC)

Emma Ruth Rundle – ‘Enough’
Another deeply emotive, powerful single from multi-instrumentalist Emma Ruth Rundle here. Inspired by both ‘The Man Who Sold The World’ and the story of Elijah – in which Emma explains she “imagines [Elijah] as an Elon Musk type figure” – ‘Enough’ is an epic reflection on modern wealth, greed, and a poetic cry for us to rise up against the powers that continue to benefit from this inequality. ‘Enough’ features on her upcoming sixth album, These Killing Times, which is set for release on 18th September via her own imprint Errant Child. (KC)

Tanzana – ‘Without A Sound’
Having been a big fan of Glasgow’s Tanzana since being spellbound by the soaring energy of last year’s ‘Covet’, I’m excited to hear that they’ll be releasing their debut EP in October. Ahead of the EP, they’ve now shared a powerful new single. Rippling with a dark majestic splendour and building with a fierce impassioned energy, ‘Without A Sound’ offers a reflection on the cathartic process of making art, as well as the frustration that can be felt when we reach our limit. An insight into the captivating and poignant genre-defying soundscapes the band are able to create. Etched In, the debut EP from Tanzana, is out on 9th October via SO Recordings & Hideous Mink Records. (ML)

Desperate Journalist – ‘Terrible Years’
Having just announced that their sixth album will be released in November, longtime favourites Desperate Journalist have now shared its lead single. Propelled by a gritty force and front woman Jo Bevan’s impassioned vocals, ‘Terrible Years’ offers a fierce post-punk anthem. Lyrically told from the perspective of someone in denial about how much they miss the excitement of youth, it captures the band’s ability to fuse a ‘90s-tinged hooks with a fresh raging energy that is distinctly their own. Gilding The Lily, the upcoming album from Desperate Journalist, is out on 20th November via Fierce Panda Records. (ML)

Rose Fatale – ‘Hole In The Head’
Belfast punks Rose Fatale embrace their softer, sapphic side on their latest single ‘Hole In The Head’. Leaning into alt-rock sensibilities, they blend impassioned vocals, earnest lyrics and driving riffs to create a melancholic whirl of noise. The band recently performed on Belfast Pride’s City Hall stage and are planning to play more gigs soon. (KC)

Team Dresch – ‘Growing Underground’
When queercore legends Team Dresch announced their return a couple of months ago, I was beyond excited, having been a mega fan since first hearing them when I was at uni 20 years ago. Now, ahead of their new album, Furthermore, which is set for release on 18th September, they’ve shared a powerful new anthem; a fierce call to action to resist the hegemonic, hateful systems which continue to oppress marginalised voices, its driving riotous energy celebrates collective, intersectional values and offers a defiant sense of unity and a hope that a brighter future is possible: “The song imagines shared communities becoming the very thing that nurtures future life. Love is embodied through chosen families, interconnected communities, and the networks that have always sustained one another.” I never thought I’d get to see Team Dresch live, and so I can’t wait to finally catch them downstairs at The Dome on 30th September. They had to move to a bigger venue than The Lexington due to high demand! (ML)

Tender Claws – ‘Tear Him To Pieces’
Having just released her debut EP, Belfast born Tess Corr aka Tender Claws creates haunting, immersive goth-inspired soundscapes, driven by a fiercely dark energy. The EP’s title track, ‘Tear Him To Pieces’, showcases her rich ethereal allure as rich, impassioned vocals soar over swirling expansive hooks. (ML)

Eilis Frawley – ‘Guilt’
We love all of the musical endeavours that drummer and songwriter Eilis Frawley undertakes here at GIHE, and we’re excited that she’s back releasing new music. This track ‘Guilt’ is the first offering from her upcoming second album, and it’s an apt reflection on the frightening and polarising times we’re living in. Led by her distinctive spoken-word vocals and gritty beats, ‘Guilt’ is an urgent reminder to engage with the world in a meaningful way and not to be desensitized by the carefully curated algorithms on our social media accounts. Eilis explains the track’s context further: “I have my own guilt, you open Instagram, in one moment you can witness a child being blown to pieces, and then the next minute someone’s trying to sell you an over priced bag or tell you how to optimise your life. I find the western world’s response petrifying to what’s happening in Gaza, and Lebanon, and Sudan, and the Congo. No reason will make a good enough reason for the amount of civilians killed, and traumatised”. (KC)

GOOD GRIEF – ‘Lucy’
Following on from their feisty debut single ‘Bait Shop’, Seattle-based duo GOOD GRIEF are back with this tender ode to unrequited love during queer adolescence. ‘Lucy’ is a track that “sparkles with curiosity – but not naivete,” reflecting on the poignancy of budding queer romantic feelings whilst softly reminding listeners of their beauty and validity. Inspired by grief, rage and love, GOOD GRIEF are currently working on their debut album, the aptly titled Not Over It, so keep your eyes peeled for more info about that in the near future! (KC)

Railcard – ‘Flanelette’
Consisting of current members of Heavenly and ex-members of Dolly Mixture and Death In Vegas, I’d definitely class Railcard as an indie-pop supergroup – and their new single is pretty super too. Showcasing their swooning honey-sweet vocals and lilting uplifting melodies perfectly, ‘Flanelette’ is taken from their upcoming debut album, Two Steps At A Time, which is set for release on 18th September via Skep Wax Records. (ML)

R Loomes – ‘The Self Demands a Reckoning’
A hypnotic offering from Sheffield-based musician R Loomes here. ‘The Self Demands a Reckoning’ is a potent piece of doom-folk that she describes as “a sort of personal prayer”, in which she attempts to sever the link between mind and body and “navigate the world [as a] free spirit.” As with her previous single ‘Passerine’, the track blends her beguiling vocals and richly atmospheric riffs to create a determined and fluid sound. ‘The Self Demands a Reckoning’ is taken from R Loomes upcoming debut album, Another Sip of the Divine Specific, which is set for release on 30th September. (KC)

Clara Mann – ‘News From Home’
A truly spellbinding soundscape, ‘News From Home’ is the new single from London based multi-disciplinary artist Clara Mann. Taken from her upcoming, literary-inspired, album Wishbone, it offers an immersive expansive musicality alongside the sparkling emotion of her resonant vocals as she reflects on how our feelings towards where we’re from can change and develop over time. Wishbone is out on 23rd October via state51. (ML)

YELF. – ‘flesh’
‘flesh’ is the second offering from London-based, British-Swedish artist YELF., who I am a big fan of. It’s a sultry reflection on lust and longing, inspired by the ebb and flow of the ocean. It’s a “neo-psychedelic ode to desire, fantasy and the brain-body connection,” as YELF. explains, underscored by her yearning vocals, immersive electronics and poetic lyricism. ‘flesh’ was also produced and mixed in Brighton (literally by the sea!) by Michael Baker and includes harp played by Fior Anderson and even the tinkling sound of glasses from Baker’s kitchen cupboards too. (KC)

Selkie – ‘Lick The Sun’
Today (28th July), Glasgow-based songwriter and producer Selkie has shared her debut EP, inWaves, which this single ‘Lick The Sun’ features on. Full of her tender vocals and considered instrumentation, she has created an atmospheric collection of tracks that beautifully melt into each other. She’ll be celebrating her debut release with a small UK tour in October and a showcase performance at Aberdeen Music Week too. (KC)

Marina Yozora – ‘Snow Heat’ (Acoustic)
We’re big fans of Japanese-born, London-based songwriter Marina Yozora here at GIHE, and we love how she’s continuing to share different evolutions of her poignant track ‘Snow Heat’. It’s a poetic rumination on a brief connection with someone that now exists only in Marina’s mind, and to honour the intensity of this fleeting moment, Marina released a lyric video to accompany the original single, and now she has shared a beautiful acoustic version of the track too. She also plans to reveal the official video for ‘Snow Heat’ on the one year anniversary of the track’s release, which we are eagerly anticipating. (KC)

Mother Church – ‘Wait To Kiss Me Until Heaven’
An unlikely collaboration between a founding member of HMLTD and an ordained priest, Mother Church create their own unique brand of alternative folk, drawing on an eclectic range of literary and theological influences. A stirring reflection on the pleasures and contradictions of virtue and temptation, ‘Wait To Kiss Me Until Heaven’ oozes a captivating mystical allure alongside its lilting folk-strewn musicality. Yolk, the debut album from Mother Church, is set for release in November via Trapped Animal Records. The band will be playing a special release show at St Pancras Old Church on 13th November. (ML)

BERTY – ‘Take For Granted’
Inspired by the power of unconditional love in our meaningful relationships, songwriter and producer BERTY penned this track ‘Take For Granted’. It’s an earnest refection on the Forest of Dean-based artist’s feelings about human connection, showcasing her intuitive nature as a songwriter. BERTY is currently working on a new EP, which she is set to release in the near future. (KC)

Brennan Wedl – ‘High Priestess’
Having just released her self-titled new album, Nashville based artist Brennan Wedl has been a favourite of mine for a couple of years now. I’m a big fan of her wonderfully self-labelled “grungetry” sound (a perfect fusion of grunge and country, in case you were wondering!) and raw Sheryl Crow-reminiscent vocals. The final single to be taken from the album, ‘High Priestess’ reflects on the otherworldly intuition of the tarot card and the thoughts and feelings that can swirl around our heads when trying to face reality head on.(ML)

The Genes – ‘Charlotte’
I first became a fan of awesome Coventry band The Genes after seeing them at Decolonise Festival in 2025, and then loved having them play for us supporting WIDGET earlier this year. Now, they’ve released their first proper single and it’s pretty great. Self-described as a “high energy punk anthem with a uniquely British story”, ‘Charlotte’ is a love letter to the Ford Transit. Inspired by years of DIY touring, late-night motorway drives and the vans that somehow survive gig after gig, the song celebrates the unsung hero that’s carried countless independent bands across the UK. I love the track’s playful tongue-in-cheek energy and scuzzy hooks and can’t wait to hear more from this unique band. (ML)

L7 – ‘Shitlist’
Another incredibly inspirational woman that we tragically lost earlier this month was Jennifer Finch, the bassist from legendary grunge-punk band L7. At just the age of 59, it seems extremely unfair that she should be gone already. Anyone who’s ever been to a GIHE gig is probably aware of how much we love L7, as I include either ‘Shitlist’ or ‘Wargasm’ on most of our pre-band playlists – their tunes have never failed to energise and motivate me, and seem like the perfect way to get people psyched up for the amazing bands who play for us. I was lucky enough to see L7 live in Camden in 2015 for their first UK gig since initially breaking up in 2001, and I remember being utterly blown away by Finch’s immense fierce energy and presence and the way her swirling life-force and booming hooks reverberated into the crowd. (ML)

Bugeye – ‘This Is What I Want’
Following the release of their recent second album, The Shape Of Things, and support slots with big names such as The Datsuns and Loose Articles, longtime faves Bugeye have now shared an empowering new single. Offering a middle finger to the outdated expectations of women that still prevail within society, ‘This Is What I Want’ oozes a sultry playful allure and danceable groove-laden hooks whilst raging against the “toxic manosphere”. Of the track, front woman Angela Martin says that it’s dedicated to “every woman who’s ever been told to know her place. Here’s the truth: your place is wherever you choose to stand. Stand tall, stand loud, and never apologise for demanding the respect you’ve always deserved.” (ML)

Four Degrees Colder – ‘Reminisce’
‘Reminisce’ is the opening track from Four Degrees Colder’s debut album, Nothing To Do. Released in July, the St. Louis-based alternative pop-rock duo take their listeners on a captivating, track-by-track journey through a decaying factory overtaken by artificial intelligence. Propelled by their clear vocals, driving riffs and electronic textures, the pair aim to inspire a sense of hope and persistence throughout their LP, ultimately refusing to succumb to the “the fear of becoming obsolete.” (KC)

Tiiva – ‘I Keep Falling In Love’
We’re big fans of producer and sound & game designer Tiiva here at GIHE, so I’m chuffed to see they’re back with a new single and a new record. ‘I Keep Falling In Love’ is lifted from the Lake District alt-pop artist’s upcoming album, This Could Be A Start, which is set for release on 25th September. It’s a euphoric swirl of buoyant electronics, floaty vocals and glitchy beats. “The story throughout the album is how we as humans navigate love, neurodivergence, AI interactions, and our desire to be everywhere all at once; in the mountains, in the city,” Tiiva explains. “Each song represents an internal character – the optimist, the party kid, the recovering addict, the loner, the nostalgic. Some of the songs could read as romantic but in reality we are all looking for connection, and we find it in not always the most obvious places.” Tiiva will be celebrating the release of their new LP with an immersive headline show at Spanners in South London on 30th September. See you there! (KC)

Sidney Packard – ‘Acer Tree’
Non-binary, alt-pop artist Sidney Packard envelops their listeners in dark atmospheric electronics and soft vocals on their latest single, ‘Acer Tree’. The London-based musician penned the track as an ode to the plant they really adore, which are more commonly known as Japanese Maple trees and are known for their distinctive leaf shape and red foliage.
Sidney will be playing a gig in London – which coincides with their birthday! – on Saturday 12th September at The Phoenix. (KC)

Maria Uzor – ‘Cyclops’
We’re super excited that GIHE mega fave Maria Uzor will be releasing her second album, Fantasyland, on 3rd September. Showcasing Uzor’s unique ability to seemingly effortlessly fuse together genres ranging from grunge to techno, the album explores notions of escapism in a world that appears increasingly unpredictable. Taken from the album, recent single ‘Cyclops’ pulsates with immense glitchy beats as the seductive power of Uzor’s vocals takes hold, and an immersive dub-inspired energy propels you onto the dancefloor. Keep your eyes peeled for a special interview with Maria on the website over the next couple of weeks. (ML)

NAMELESS TWIN – ‘Neon Machine Gun’
I love everything about this haunting new single from industrial-electronic duo Alicia Rei Kim (Dokoe) and Ryan Osterman (Holy Fawn) aka NAMELESS TWIN. They’ve only released a handful of tracks to date, but all of them have been a perfect blend of their dramatic volume shifts and dark, dreamy electronics. ‘Neon Machine Gun’ is their first new release since 2023, but I hope they’ll be sharing more of their ominous sounds in the near future. (KC)

Ladybug 2 (The Bug, Friday Night Plans) – ‘Miss U’
Under the moniker of Ladybug, UK-based producer The Bug has launched a new collaborative series via his own imprint PRESSURE. The project sees him work alongside different female vocalists to explore new sonic territory, and this track features the voice of one of his personal favourites: Japanese songwriter Friday Night Plans. ‘Miss U’ is another heady, cell-tingling offering from the eclectic collaborators, and if you can’t get enough of the original, the duo have also shared five accompanying “alternate” versions that you can sink your teeth into, available on bandcamp now. (KC)

 

 

Missperception – ‘Into The Glitch’
By combining her love of electronic music, jazz elements and cinematic soundscapes, Yorkshire-based independent artist Missperception creates an infectiously glitchy atmosphere with her music. This aptly titles track ‘Into The Glitch’ is lifted from her recent EP, Static Symphony, which she says is formed of “Four rooms…four transmissions…a signal from the edge, where melody frays into static.” (KC)

 

CLICK HERE TO LISTEN (TIDAL)

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INTERVIEW: F*Choir Celebrate 10 Years

We’ve been huge fans of London based queer collective F*Choir for as long as we can remember; it feels like they’ve been a part of our souls before we even knew about them, and their deeply immersive and interactive performances have had a consistently moving and powerful effect on us over the years. 

Celebrating a decade of existence, we wanted to take some time to honour the truly special, life-affirming sense of resistance they’ve built over the last ten years and their ability to create and recreate art that is hugely enlivening and electrifying. Not only a choir, but a community, F*Choir have offered a cathartic space for all who’ve been involved – whether on the stage with them, or watching and listening from across the room. They’ve continued to evolve with the changing times, reflecting the political, physical, spiritual and emotional identities of its members, providing a beautiful and necessary platform for both the euphoria and the grief that the queer community have experienced.

Having also celebrated our 10th birthday last year, at Get In Her Ears we feel a certain affinity with F*Choir and understand the work, time, stress and joy that can go into putting your heart and soul into a creative project. We’ve been lucky enough to host events with them, and various individual members of the collective (including Rubie and Jenny Moore’s other projects, punk-percussion outfit Charismatic Megafauna and her six piece ensemble Jenny Moore’s Mystic Business), as well as attend many of their other shows, and so have been able to experience first hand the all-encompassing, empowering energy and majestic captivating grace that exudes from each of their performances. 

Rooted in the firm belief that “music has the power to change us and remake the world”, F*Choir use music to stay connected, to life and to each other. It is exploration, hope, possibility. It’s hard work. It’s saying, “you have got the strength”. And, with their urgent, melodic, driving songs that sit somewhere between fight for your life and lay down your guard sentiments, they offer a commitment to rhythm, movement, self-expression and salty harmonies. An F*Choir song is both personal and political, it’s a vessel for stories and collective liberation. 

Ahead of what promises to be a career-spanning performance at Earth in Hackney on 25th October, Tash spoke to Jenny (Founding and Artistic Director) and Bianca (Assistant Choir Leader) about the project’s beginnings, what being in F*Choir has meant to them, their journey together, and what they’re moving onto next… 

Initially conceived by accident from a project that Jenny was working on to create some music for a festival, with the aim of going back to our roots and not using electricity, F*Choir highlights the power of the voice. With no microphones and no other instruments used, what they write and create is raw and direct, as Jenny explains: “People are often surprised we’re not just shouting, feral, scratching, growling, but F*Choir music shows you can growl in 7-part harmony. It’s textured and breathing, belonging to bodies that ache and bend and push themselves towards the sound.”

After putting out a call for people to join her in this unique project, Jenny recruited a number of like-minded creatives at a time when people were really learning how to be together again after the anxieties of Brexit. Having come together for an intense five-hour-long rehearsal, ‘We Want Our Bodies Back’ (previously written by Jenny for another project) was the poignant first song that F*Choir performed together, before she realised that this was not going to be a one-off collaboration, but – due to a misunderstanding in the advertisement – the start of an incredibly huge part of her life for the next decade. It was meant to be.

Speaking about how special it feels to come together to sing and create, Jenny explains that it’s about finding the electricity within ourselves; creating and performing with F*Choir channels an internal energy – a somatic, physical part of ourselves: “Singing reminds you that you are alive when you feel not alive… Singing is this thing – you have to inhale to make the sound and exhale to make the sound, and there’s something about that creates electricity… . It creates this internal engine that makes me feel like I can carry on like a little bit more.”

Bianca’s introduction to F*Choir also seemingly happened by complete accident – she met different members of the choir, including Managing Director Sophie Chapman, whilst on an artist residency in Poland. After being persuaded to join some of their open sessions when back in London, she was instantly hooked: “I remember thinking these people are mad and I think I’m in love with all of them”. Never intending to be part of a choir, she followed the energy – that connected electricity – that oozes from F*Choir, and was completely locked in after seeing Jenny and “absolute goddess” Rubie do an impromptu spontaneous open air rehearsal.

Now, Bianca describes F*Choir as the “spinal chord of my life” – they are each other’s chosen family and provide an expansive musical learning and insight, as well as deep-rooted sense of community. She continues to be impressed by and proud of her peers – the different bands and artists that have come through the F*Choir collective (with examples including Breakup Haircut, Trouble Wanted, Rubie, Zahra Haji Fath Ali Tehrani and more), spreading its roots as it evolves and shapes its members. 

Continuing to reflect on what being in F*Choir means, and the importance of coming together to sing, Jenny describes how emotional, physical and spiritual singing can be; how it helps to build muscle memory: “It builds muscle for individual and collective power, if you let it saturate your actual, physical self.” Highlighting the importance of this collective power, she explains how F*Choir doesn’t happen in a vacuum; it’s a response to what’s happening in both individual people’s lives and in the world as a whole – “... it’s like a performance research site, there’s so much collective experimentation.” It’s both personal and communal – a space where you can bring both your political self and emotional, physical and vulnerable self into one space together, and share it with friends. A combination that is “a total act of bravery and trust”. 

It’s not only the singing that F*Choir do together that contributes to this communal power that they’ve nurtured for the last decade, it’s also the unique sense of community that they’ve built up together. As Bianca explains, as well as choir practice, they come together to discuss and make decisions as a collective – with their ‘Kitchen Table’ sessions, for example, they set an agenda of upcoming tasks and events, and with their ‘Working Forum’ they talk through the importance of issues such as accessibility requirements and the political stance of the venues where they’re planning on performing. All decisions and discussions are collective; a true democracy that seems to be at the heart of what F*Choir do. Any difficulties they encounter, they move through together, as both individuals and as a whole. They recognise the importance of expansive difficult conversations, and how vital these have been to the choir’s longevity.

It therefore seems key that F*Choir use their voices not only to sing, but to express their opinions and make sure these are heard, in a safe space where they are listened to and valued. And, as Jenny says, to have a practice that you return to again and again, where you’re using your voice (whether that’s to sing or speak), is a defiant, political act, especially for queer people. 

When asked to describe how it feels to perform with F*Choir, both Bianca and Jenny’s answers reflect this sense of a duality; there’s not one clear cut feeling or way of being part of the collective. “There’s this feral energy, at the same time as a softness”, Bianca comments. There’s a variety to their performances, two sides to everything they do. “It feels whole”, Jenny continues, “it’s not just sheer pop joy, or deep grief, it’s both sides… It makes an actual shape that’s real and authentic.” And it’s not just the members of the choir that are responsible for creating the energy and atmosphere at the heart of their life-affirming performances, there’s a definite synergy in the room – a huge feedback loop between the audience and the people on the stage. In Jenny’s words, “it’s wizardry”. 

On a personal as well as collective level, F*Choir has meant so much to its members over the last decade. From the beginning, it’s felt totally right, Jenny explains – “it planted a seed in me, something became alight”. Still now, ten years later, it remains a cherished part of her life, and performing with the choir generates a sense of self-love and compassion like nothing else – “When I’m performing with F*Choir, I feel more like myself than I ever am.” Having a cathartic space to grieve and rage in such a joyous and unified space is something truly special; an experience that encompasses the ‘whole’ that Jenny described, reflecting the multifaceted parts of our individual and collective lives in a beautiful and honest way. In the words of the great Robyn, F*Choir has used “sorrow as content, euphoria as form”; it’s created a space where queer and marginalised voices can unite as an empowering ode to our own power and resilience.

So, it may come as a shock that the decision has been made to put F*Choir to rest. “We’ve decided to intentionally compost F*Choir”, Jenny tells us. Continuing the plant-based metaphor, she reflects on what “fertile” ground the choir has created – “…there’s so many things sprouting and growing from it all the time… There’s almost a sense that we’ve outgrown the pot”. Explaining the decision, she tells us that they wanted to be in charge and have agency, to continue moving to their own rhythm; by purposefully drawing things to a close now, F*Choir are able to decide on the shape they’re in, to plan next steps. With both the political landscape and people’s individual lives changing so much over the last decade, members of F*Choir are not the same as they were ten years ago – “I feel that something else is required of us.” Jenny assures us that something else coming, she just doesn’t know what it is yet: “I wanna do something radical – I want to keep going in the way that F*Choir always has been.”

Rather than give in to the capitalist pressure that is put on us, especially as queer people, to keep going as some sort of proof of existence or value, F*Choir wanted to end things together, on purpose, “in the light, and not hide from it”. Jenny emphasises that she’s keen to honour the experience and recognise what everyone who’s ever been a part of F*Choir has achieved – visibly emotional, she reflects on the “collective magical cosmic space” that’s been created: “We’ve made these diamonds and their prisms are shining in all these different directions. We want to be allowed to stand back and look at it.” She’s keen to highlight all the queer and trans artists and composers who F*Choir have not only worked directly with, but who they’ve taken inspiration from and whose songs they’ve re-worked – “I want to point a laser finger at everyone, and highlight how community input is so powerful.”
(Please see a full list of thanks at the bottom of this article.)

Rather than fizzle out, Jenny wants F*Choir to be in charge of its own legacy (unlike so many other female and queer artists over the years), to make its own history rather than for it to be written for them. She wants to continue unearthing practice and discovering new things about F*Choir, as she has done for the last decade. “I’ve never been so humbled as I have been in this role”, she shares, but she feels strongly that now is the right time to walk away from it, as – despite being a Scorpio – she finally trusts in it. She’s learnt that there are phenomenal, world-building artists everywhere, and feels confident that the next generation will be able to stand on the shoulders of what F*Choir have created. 

But, in true F*Choir style, they are not going out without a bang! As well as the huge celebration of their decade of existence at Earth on 25th October, they will also be releasing their first (and only!) album later in the year. Recorded at RAK studios with sound engineer Joy Stacey, and assisted by Alfie Scott, it features most of the choir’s 60+ ensemble singing tunes from a range of artists they truly treasure – female, queer and trans, black and brown musicians that they want to platform and celebrate. “I guess you could say the album is a love letter to them”, Bianca comments, which seems to really sum up a lot of what F*Choir is about; platforming and celebrating each other, lifting each other up and sharing joy with one another through the power of song. 

Full list of artists and musicians that F*Choir wish to send love and thanks to below. 

Join F*Choir in an epic celebration of their 10 years – marking both an end and a new beginning – at Earth in Hackney on 25th October. A range of tickets available here.

F*Choir would like to thank ALL the artists and musicians who’ve ever been involved with the project – those they’ve worked directly with, and those they’ve been inspired by. Including, but not limited to:
Planningtorock
Beverly Glenn Copeland
Rubie
Muna
Jasmine.4.T
Beautiful Chorus
Deep Throat Choir
She Keeps Bees
ABRA
PJ Harvey
Meredith Monk
Wildbirds & Peacedrums
Ibeyi
Lauryn Hill
Kate Nash
Peggy Seeger
Auclair
Anonhi
Robyn
Batya Levine
Dianne Reeves
Inshallah Babes
Tirzah and Micachu
Obinrin Trio
Be Steadwell
JD Samson & MEN
Jade
Mince

They’d also like to thank some of the amazing venues they’ve performed in, such as:
Pie-House Co-op 
Walthamstow Trades Hall 
Hoxton Hall 
(and billions of parks, streets and protests in London where we’ve gathered endlessly and found our beloveds!) 

Photo Credits:
Image outside Moth Club: Sophie Le Roux
Image at Hoxton Hall: Florence Bass



mariangelicalaneLeave a comment

FIVE FAVOURITES: Cinder Well

Fuelled by a desire to experiment sonically and to capture the “kind of harsh mundanity that life can carry”, LA–based composer and multi-instrumentalist Amelia Baker aka Cinder Well carefully crafted her latest album, A Blooming Body. Released in July via Hen House Studios, it’s a disarming collection of tender keys, clear vocals, emotive lyrics and considered instrumentation; through which she evokes a similarly eerie atmosphere associated with louder, heavier music.

We think one of the best ways to get to know an artist is by asking what music inspired them to write in the first place. We caught up with Amelia to ask about her “Five Favourites” and she picked five albums by an eclectic range of artists who have inspired her songwriting techniques. Check out her choices below and scroll down to watch the official video for Cinder Well’s latest single ‘Of Nettles and Roses’ too…

 

1. Mount Eerie – Lost Wisdom
This record was my introduction to the world of Phil Elverum, who continues to be an influence for me. I loved this record and I still do, it is so sparse yet atmospheric, beautiful songwriting, raw harmonies with Julie Doiron. It feels very focused on the loss of a relationship and you just inhabit that for a while when you listen to it. This must have come out during my first year at college and I remember taking the bus to see Mount Eerie play in a small restaurant venue. He played solo and it was great, a strong memory.

2. Cat Power – You Are Free
I listened to so much Cat Power in high school but this record had a good concentration of my favourite songs on it. I think I took more from Cat Power in my early songwriting than I realized at the time or was willing to admit. The first song I ever recorded (my friend recorded me in his bedroom in high school) was ‘Maybe Not’ from this record, and it absolutely blew my mind to realize that we could just do what these seemingly otherworldly people did – write and record music. The songs on this album have such simple chords and that was really encouraging when I started writing. I still feel the same way listening to this record now as I did when I was 16.

3. Elliott Smith – XO
The day Elliott Smith died my mom was driving me home from Junior High and we had the local radio station on. This song that I’d never heard came on, ‘Waltz #2’, and I was stunned throughout its entirety. As it was back then, I was hoping the radio presenter would announce what we just listened to. And then they did, saying “that was Elliott Smith, who died today”. So I went through an intense Elliott Smith phase at the age of 13, hiding my iPod headphones under my hoodie during class absorbing his entire discography. This maybe explains why I tend to write sad songs…

4. Ulver – Bergatt
This record (and Kveldssanger, also by Ulver) was my gateway drug from folk into metal and it was introduced to me by my bandmates in Blackbird Raum, who were older and cooler than me. I loved the atmospheric black-metal which felt entirely new to my brain but the acoustic interludes and clean vocals with strong melodies were also sitting in a familiar world. The harmonic movements of the chords started to seep in to my songwriting pretty immediately when I started writing for Cinder Well.

5. Ali Farke Touré, Ry Cooder – Talking Timbuktu
I found this CD in my dad’s collection as a teenager and have been a big fan of Ali Farke Toure ever since. The melodies on this album are infectious and it has such a sense of atmosphere – the dueting guitars make the production feel full and lush. I love Ali Farke Toure’s guitar playing, it’s so meditative and circular. I have learned a lot from his playing and try to channel this by playing in open tunings with circular finger picking patterns.

Thanks to Amelia for sharing her favourites with us!

Watch the video for Cinder Well’s latest single ‘Of Nettles and Roses’ below.

Follow Cinder Well: website, bandcamp, TIDAL, Instagram & Facebook

Photo Credit: Chelsea “Cheech” Moosekian

Kate CrudgingtonLeave a comment