Introducing Interview: O Hell

After years spent touring and recording music in alternative bands around the UK, Lucy Sheehan is venturing into fresh sonic territory under their new moniker O Hell. Influenced by a love of eclectic, brooding soundscapes and aspirations for pure self-autonomy, their debut single ‘Down’ is an “exercise in refusing compromise” brimming with Sheehan’s distinctive vocals and jagged electronics.

We caught up with O Hell to talk about what inspired their new sound, the context behind the accompanying video for ‘Down’ and the music that initially inspired the project…

Hello Lucy! We’re big fans of your new single ‘Down’. You said you were inspired by the sounds of early 00s albums by Mark Lanegan, PJ Harvey & Radiohead when you started your new project O Hell. What is it about these artists that helped you to shape your sound?

I’d been thinking of doing an electronic project for a few years, because the idea of stripping writing back to a beat and a melody really appealed – that’s mostly what I care about in a song anyway – but I couldn’t really see my way into it sonically; how to get the things I love about sound, the kind of looseness and grit you get from humans playing and singing together, into it. I couldn’t hear what it would sound like.

I think when I heard ‘Methamphetamine Blues’ by Mark Lanegan and ‘My Beautiful Leah’ by PJ Harvey, where the arrangements are kind of as loose around the drum machines as they would be with a band, it felt like a way in. I also just hadn’t heard voices like PJ and Lanegan’s, two people with the most fucking raw, real voices on the planet, singing in that context before.

At the same time I got really inspired by Christine & the Queens’ recent EP, La Vita Nuova. it’s all bass, pads, doubled vocals and harmonies – no filling, just the strength of the beat and melody. That sound really informed how I wrote for a long time.

Talk to us about your debut single ‘Down’. What inspired the lyrics, how did you put the track together?

I wrote ‘Down’ a couple of years ago, it was the first song I wrote for the project and it came out almost fully formed, start to finish, in one session on my computer. I kind of thought, I’m gonna kick this around the studio ’til it sounds like something I want to release. Which is what I did basically, I kicked it around with a bunch of mates – all brilliant musicians, engineers and producers – until it was everything I wanted.

Lyrically, ‘Down’ is a reminder for me that as bad as things get, I’m still going where I want to, even if it feels like I’m running with a broken leg. In that sense it’s a song for me. That’s something I really care about for this project, that the music is totally for me first. I love collaborating and I love being in a band and moving something forward together in a big evolving mass, where everyone get’s to go “that’s awesome” or “that’s awful kill it,” that’s exciting. But this is about not questioning what comes out and letting the music be what it is, I want to be a bit punk about it and be like “that’s what came up today, take it or leave it.”

That’s a great way to approach things. Talk me through the concept behind the accompanying video for ‘Down’ which were shot by Avacado Baby.

I wanted to veer between bare monochrome and total excess, between that feeling of disengaging, of slipping into yourself and looking less and less at the world and that ecstatic adoration for life and survival. ‘Down’ is about experiencing both and trying to hold on to the latter. The video had to echo that I think.

Are you planning to play any O Hell live shows in the future?

Yes, but I want them to be an experience, sonically and visually. I want the project to inhabit a particular reality for as long as possible – so, don’t expect to see it down the pub basically!

I’ve got an amazing crew of mates – brilliant musicians and artists – who are helping me create the live spectacle. Very lucky to be surrounded by such talented folk.

Finally, are there any bands or artists who you recommend we listen to?

I am one of those terrible people that will get into one album and not surface for two months – I’ve never been one for the New Music Friday thing sadly. I wish I was.

At the moment I’m circling The Breeders album Title TK, PJ Harvey’s Stories from the City, a really cool band called KLAMP, St Vincent, Mark Lanegan (listen to ‘Lexington Slow Down’), Megan Thee Stallion, John Frusciante’s Niandras Lades and this sick band called Demonstrations who are from Brighton. I listen to their song ‘Evening Run’ most days, the bassist has worked absolute magic all over it and I am hoping she’ll join me on stage one day. I also live with Annie from CLT DRP, so I’ve also been privy to their new stuff which is incredible, I can’t describe how exciting it is, there’s nothing else like it.

Thanks to Lucy for answering our questions. Watch the video for ‘Down’ below.

Follow O Hell on Twitter, Instagram & Facebook

Kate Crudgington
@KCBobCut

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Five Favourites: SUEP

Led by SuepLord (Porridge Radio, Garden Centre, The GN Band) and Brain Wastefield (UK top model), London based SUEP are now a fully formed band with the addition of GN (The GN Band, Joanna Gruesome, The Tubs), Freakin’ Deacon (PC World, Garden Centre), and T-Mr.9 (Head of Pastoral Care). Interweaving jangly hooks with a whirring, psychedelic haze, the band recently released their debut single ‘Domesticated Dream‘. Oozing a vibrant, quirky energy, a joyous clatter of percussion swirls alongside uptempo electro-driven melodies and sweeping, honey-sweet vocals. A perfectly eclectic scintillating soundscape.

We think one of the best ways to get to know a band is by asking what music inspires them. So, to celebrate SUEP’s new single, we caught up with Sueplord to ask about her “Five Favourites” – five songs that she loves the most. Check out their choices below and scroll down to watch the unique new video for ‘Domesticated Dream’.

The Flirts – ‘Passion’
I only heard this song kind of recently, my friend Liam put it on in one of our YouTube sessions that me and my housemates often did during lockdown. It’s just so good and I reckon it’s quite theatrical, I really want to sing and act out all the words and dance along every time I hear it. I just looked up that The Flirts were formed by Bobby Orlando who worked with Divine and the Pet Shop Boys who I also love. I’ve been playing this song every time I DJ at the moment, and when I was on Green Man radio this summer I accidentally put on the extended mix which is just under 10 mins long but no one complained, that’s why I know it’s a good ‘un. There are a few performance videos of the song on YouTube and they are all amazing. I have definitely tried to use the song as a kind of exercise video by dancing along to their moves in my living room.

The Umlauts – ‘Boiler Suits and Combat Boots’
Ahh man I love the Umlauts so much, this is the first song of theirs I heard. It doesn’t have a video but it’s just such a great vibe and tune that I think I can get away with it. Porridge Radio played with them at two Library shows in Ashton and Widnes last month and there weren’t many people there and in Widnes it was a matinee performance, but they rocked it so hard, they sounded so large and full and it was literally impossible for me not to dance. I’ve listened to this song so much that when the synth solo came in I was singing along… They are stand up people as well. I can’t wait to hear their next single and the album. They are on Prah Recordings that are putting out some incredible stuff at the moment.

Jona Lewie – ‘I Think I’ll Get My Hair Cut’
Ok, this song is the song that I wish SUEP had written. But my man Jona wrote it. Jona Lewie is such a huge inspiration to me and Josh from SUEP. All of his songs have incredible hooks with a twinge of humour, which is exactly the genre I love, and I think it’s definitely a genre. One that Paul McCartney also fits into. I love that throughout the song he’s trying to be more attractive and popular and he’s concluded that to do that, he needs a haircut, but at the end of the song he realises he’s trying too hard and actually his hair is great. We’ve all been there. The synth riff that comes in goes straight to my heart every time I hear it, and I’ve heard this song a lot, I know all the words. By writing this I have concluded that SUEP should maybe cover this song. Keep your ears to the ground.

Becky Hill, David Guetta – ‘Remember’
Something a little different. I cannot contain how much I love this song. I have listened to it maybe a million times. The video is fine, don’t let it distract you from the lyrics:

“It’s only when I’m lying in bed on my own
And I wake up and I don’t see your name on my phone
It’s in the moments where I think that I’m better alone
That’s when I remember, that’s when I remember
Every time I walk past your house in the rain
And I tell myself that you were the biggest mistake
And just when I think I’m finally doing okay
That’s when I remember, that’s when I remember’

It gets me so deep every time. And it’s a huge club classic slam dunk. The amount of times I’ve been driving and yelling every word. Just thinking about it makes me want to cry with some kind of joyous sad tears. Nice one as well to Becky Hill, her voice is smash hits good. And David Guetta, all I can say is thank you. I’d just like to shout out to another song I would have put on this playlist that the rest of the band would have probably hated: Avicii – ‘Wake Me Up’ (definitely a song I wish I had written).

Alessi Brothers – ‘Seabird’
Damn, when this song drops and the vocals come in! The way the vocals are produced as well, they are so loud but so perfect. Normally I like vocals a bit buried, but this song has just got it. The lyrics are so beautiful and also is that a drum machine??? Also mega fade out vibes. It has it all.

Massive thanks to Sueplord for sharing their Five Favourites! Watch the video for ‘Domesticated Dream’ here:

‘Domesticated Dream’ is out now. It was recorded with producer Matthew Green (Sniffany & The Nits, The Tubs, etc.) at
SuepLord’s old house, which was once a youth centre in Surrey Quays, with the old sports hall being made into a makeshift studio where SUEP laid down a mini album worth of songs in two days, and later mixed by Mike
O’Malley (caroline, Girl Ray).

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Introducing Interview: Lunar Vacation

With acclaim from the likes of The Fader and Clash, and having previously charmed our ears with the luscious sounds of singles ‘Mold’ and ‘Gears‘, Atlanta-based Lunar Vacation have just released their debut album, Inside Every Fig Is A Dead Wasp. With each track oozing a shimmering allure and stirring emotion, the album showcases the band’s ability to create heartfelt, irresistibly effervescent indie-pop with a catchy, lilting musicality reminiscent of the likes Best Coast and Alvvays. A collection glistening with a cinematic grace as droplets of stirring melancholy ripple on a seemingly serene surface.

We caught up with Grace from the band to find out more about the album, their thoughts on the music industry at the moment and more. Have a read, and make sure you treat your ears to the beautiful new album as soon as possible!

Hi Lunar Vacation, welcome to Get In Her Ears! Can you tell us a bit about yourselves?
Hey! I’m Grace, and I play guitar and sing in Lunar Vacation. Currently I’m finishing up my last semester at college, making some art, and playing with my cat, Science. 

Are you able to tell us a bit about how you initially started creating music together? 
Maggie and I became friends in high school during a guitar class songwriting project. Connor and Matteo also went to our high school and we just naturally found each other. 

I love your shimmering, blissful sounds with shades of faves Rilo Kiley and Alvvays, but who would you say are your main musical influences?
It changes all the time – all four of us listen to different genres of music from different times, so there is always a good, unique collection of music swimming ‘round in our heads. Right now, Big Thief has been one of my biggest influences musically and lyrically. I admire how Adrienne approaches writing lyrics and how she uses music to work through her thoughts and feelings. There is a really beautiful, delicate aspect of her reflections expressed in her music. 

You’ve just released your debut album – Inside Every Fig There’s A Dead Wasp – which is super exciting! Are you able to tell us a bit about this? Are there any particular themes running throughout the album?
We are all extremely proud and looking forward to finally letting her run free into the world. It’s ultimately up to the listener to form their own idea and interpret it how they want. Once it’s out there, it’s not ours anymore. So in other words, you’ll have to listen to find out!!

Do you have a favourite track on the album? And if so, why does that one mean the most to you?
I think my favourite out of all of them is ‘Gears’. I’m extremely proud of how it came together and how honest the lyrics are – this was one song where I felt that the words flowed perfectly and found their place in the song. Writing that song helped me process a lot of loose ends I had from a relationship that was drawn out for way longer than it should have and to fully move on. 

And how have you found recording and promoting an album during these strange times? 
It was definitely strange making a record at the height of COVID – there were times that it felt like the studio was an intense vacuum of time and space and there would never be an end to the pandemic. Ultimately, I think it added a unique aspect to the record itself… The music, writing, productions, feelings, etc. Everything happens for a reason and I guess the right time for our record was a global pandemic. I’m not sure if that speaks to anything. 

The album’s produced by Daniel Gleason of Grouplove – how was the experience of working with him, and how would you say his contribution added to the collection’s overall sound?
The record wouldn’t have been what it is without Dan and our engineer, TJ Elias. They are such an amazing duo and helped us create what was in our head onto the record. They pushed us sonically and creatively to lean into our strengths, explore our weaknesses, and embrace our own styles. 

How do you feel the industry is for new artists at the moment? Do you feel much has changed over the last few years in its treatment of female and non binary artists? 
That’s a layered question. I have a lot of qualms with the industry as a whole and how it’s shifted to artists having their “moment” instead of focusing on the longevity of their music. Sometimes it seems like it just favours the algorithm, vanity, and self promotion to the point of image and social media coming first and then the actual music following second. Music streaming platforms have made artists reliant on being “playlisted” to have a career. I guess it’s the modern day radio, but it doesn’t sit quite right with me. However, I think the accessibility from social media has made an extensive, positive amount of room for new LGBTQIA+ and BIPOC identifying artists, which has been really promising and inspiring to experience. But, I would like to see more representation in the gay and non-binary community instead of the few token white, straight passing people that are labelled “gay icons”. There are more people out there that represent the community and they need to be uplifted and celebrated.

And, as we’re a new music focused site, are there any other upcoming artists or bands you’re loving right now that you’d recommend we check out?
Definitely pay attention to Future Crib, Binki and The Slaps! These aren’t new, but I’ve been listening to a lot of Lynn Castle, Yuck, and Big Thief.

Finally, in addition to the release of your album, what does the rest of 2021 have in store for Lunar Vacation?
Playing a few more shows and hopefully graduating college in December!! All good vibes ahead. 

Massive thanks to Grace for answering our questions! Inside Every Fig Is A Dead Wasp, the brand new album from Lunar Vacation, is out now via Keeled Scales. Catch them live on their UK Tour next Spring – tickets here.

Photo Credit: Violet Teegardin 

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INTERVIEW: Divide and Dissolve

Fuelled by Takiaya Reed’s doom-ridden saxophone sounds and Sylvie Nehill’s phenomenal percussion, Divide and Dissolve create idiosyncratic instrumentals designed to erode the foundations of colonialism and liberate the land for indigenous communities. Flowing with a unique gargantuan grace, their second album Gas Lit has been haunting our ears since it was released in January of this year. We caught up with Takiaya to talk about the record, the reception that it’s had, the new Remix EP that it’s inspired, and a shared love for Radio 6 presenter Mary Anne Hobbs…

Hello Takiaya, how are you doing today?

I’m good, I’m in finals right now, so I’m studying a lot and trying to drink enough water to feed my brain. I’m studying psychology. It’s intense, but I feel super chill about it, because it’s all just a pseudo science. It’s kind of comical trying to find ways to talk about things that are extremely inaccessible and continuing to perpetuate all these things that are sometimes helpful, and sometimes not. The mind is so mysterious and vast, and we’ll never really know what it’s capable of…

I think you should put that in your final essay. You should just end it with that sentiment.

Yeah, they’ll be like “50 Points off for not using enough empirical evidence…”

That’s true, maybe don’t listen to me…

Musically, let’s start from the beginning. Can you remember who, or what first inspired you to start making music? And how Divide & Dissolve first came together too?

It was my dad who first inspired me. I started out playing piano but then he was like, “hey, you look like a saxophone player,” and I was like, “what? A sax player, really? I thought I should play trombone or something?” but he said “I know you’re a sax player. I play trumpet, so we could play duets” So he got me started on playing saxophone and I felt this intuitive almost spiritual connection with the instrument. I still roll my eyes at my dad for what he said about looking like a sax player, but I think there’s something to him having had that knowledge.

Then later on, I was inspired to play guitar because I met my friend Osa Atoe, who does Shotgun Seamstress and was in a band called New Bloods. She showed me how to put on shows, how to set up a PA and she told me to play guitar. Osa was super inspirational in terms of me not playing classical music, which is what my first passion was.

With Divide and Dissolve, I just had a good friend say to me “Hey, you should meet Sylvie, you two are going to love each other” and we instantly just got along. It’s not a very eventful story, it’s just more like, “hey, you’re cool. Okay, cool. Let’s play music. Sweet!” We’re both super chill people, so it just works. I’m trying to trust in that. When making decisions about life, sometimes it just feels super right, like you’re just supposed to be there. Those are probably very good guiding principles.

It sounds like you rely a lot on your intuition, which surely can only lead you to the right kind of people and the right kind of things.

The music you make as Divide and Dissolve, is fuelled by a powerful anti-racist, anti-white supremacy, anti-colonialist message. Do you feel like your music is uniting and educating people about these issues?

I can only hope that it is. It feels amazing to be able to talk about the things that we want to talk about, and be able to experience relationality with our ancestors, our relatives and our kin, and to be able to talk about the Earth in this way and just feel all the resonance. That’s just what we’re about in general. So I feel super grateful and I don’t want to take any of that for granted. I want to be able to continue to connect with people in these really positive and meaningful ways. That’s just how Sylvie and I are.

We’re pretty focused and we want to directly communicate our message. We would like the systems that continue to perpetuate genocide to end. If you can imagine something ending, then it can end. Instead of living in the world where you feel like, “oh well, that’s not possible” – you should try to believe that anything’s possible. That’s where I’m at.

That’s a really refreshing and hopeful sentiment. You do a magnificent job of making listeners feel this way on your most recent album, Gas Lit. What would you say you were most proud of about this record?

I remember having a conversation with Ruban Nielson (Unknown Mortal Orchestra) who produced the record, and I just told him, “I hope people can understand exactly what this album is about.” We put a lot of intention into the album when we were writing it. We put a lot of effort and love in, and we consulted with our ancestors. So when it was released, the way people were writing about it and talking about it felt so attuned. They knew what the album was about without me even specifically telling them what it was about. It was abundantly clear and that still feels incredibly special. It’s so amazing to want to communicate something, and then to have it actually happen. It makes me feel super inspired to continue playing music. I love that Sylvie and I get to do that with one another. It feels like such a blessing.

Do you have a favourite track on the album? Is there one that you enjoyed recording the most or one that you enjoy playing live the most?

Do you know what, I don’t feel properly equipped to answer that question yet, because we have been in a pandemic and this music hasn’t been played live. But, I feel like I’ll know the answer once we go on tour. I’ll be like, “Oh my God, it’s this song!”

The creation of all of the songs was so unique, so it will feel awesome to learn more about the album in terms of performance when we play it live. It feels so wild to be able to do such a thing, because we haven’t had the opportunity to. I’m very excited to play live. I feel optimistic and hopeful that live music will return in a way that feels meaningful and good.

I can’t wait to catch you live when you’re here in the UK. You’ve recently released a Gas Lit Remix EP, featuring tracks by Moor Mother (‘Mental Gymnastics’) and Chelsea Wolfe (‘Far From Ideal’). Talk to me about how this EP came to life…

Our label, Invada, thought it would be cool to do some remixes and I just knew who I should hit up. I feel so connected to both of Camae (Moor Mother) and Chelsea. I think they are both amazing people who do amazing things. It feels so special that they would want to work with us. It just makes me smile a lot.

I’ve just seen that BEARCAT has also remixed a track for you, which is cool!

The visuals that you’ve shared to accompany the Chelsea Wolfe remix and the Moor Mother remix – shot by artist, writer, and filmmaker Sophia Al-Maria who currently has a sculpture at the Serpentine in Hyde Park – compliment the songs so well. 

I love music videos. I don’t know how to make them myself, but the visual world is so interesting. I love it when people who have an understanding of it decide to connect with us and tell another story. Maybe they make it deeper, maybe they don’t. It feels special to try and achieve deeper communication. I think it enhances the music and I love that. Anything that helps us to be able to feel this feeling deeper is awesome. But also, maybe the videos help you not feel things as deeply, and that’s awesome as well, because maybe that’s what someone needs.

I agree, I think there’s a nice balance between the visuals and the sounds.

We’re big fans of Divide and Dissolve her at GIHE, and someone else who also is also a big fan of yours is Radio 6 presenter Mary Anne Hobbs. How do you feel about that?

I really want to meet her, she seems so cool. Sylvie and I want to hang out and eat food with her. She’s across so much cool music, she has really great energy and it feels like such a huge blessing to have her understanding of what we’re doing. I admire her, I think she’s awesome.

We think she’s amazing too. Maybe this will be the interview that she reads and then she invites you to dinner?

Finally, what else is on the horizon for Divide and Dissolve? 

We’re going on tour soon and we’re playing Roadburn in 2022, so that will be fun!

Thanks to Takiaya for speaking with us.

Order your copy of the Gas Lit Remix EP here

Follow Divide and Dissolve on bandcamp, Instagram, Spotify, Twitter & Facebook

Photo Credit: Jaimie Wdziekonski

Kate Crudgington
@KCBobCut

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