Introducing Interview: Murman

Since forming in 2018, London-based Murman have wowed crowds at venues such as The Scala, The Windmill and The Old Blue Last, and have now – following the frenzied energy of last year’s ‘Panama’ – shared a brand new single. ‘Achilles’ hits you instantly with its gritty hooks, swooning vocals and immense thrashing beats, as it builds to a riotous slice of garage-rock, oozing a raw, scuzzy energy.

We caught up with drummer Abbi Knell to find out more about Murman and their distinctive sound…

Hi Abbi, welcome to Get In Her Ears! Can you tell us a bit about yourself?
Hello, and thank you! I’m Abbi and I play the drums in a band called Murman, based in North London. I grew up in Suffolk and have been playing since I was about 10 years old, when I started my first band to play in a school talent competition. Very rock and roll. For a day job I work in communications and campaigns for a global philanthropy, so it’s a very different world to music but I really enjoy flitting between the two, and I picked up cycling during lockdown 1.0 – so that’s a nice new hobby!

How did you and David initially decide to start creating music together as Murman?
So, when I moved to London after university I was desperate to get back into playing live. I started scrolling through a few GumTree ads looking for drummers, and stumbled across an ad from David looking to start a band. We first met back in 2018, and David already had a few songs drafted (‘Christian Boys’, our first single, and ‘Tred Bay’, our second), so we used those as a springboard into other sounds, hooks, and ideas. It really started for us both as a hobby and a passion, I don’t think either of us thought a year later we’d be playing at Scala or hosting our own headline shows at The Shacklewell Arms, but it’s so much fun, and that’s at the heart of the music we want to create too – fun to play and fun to listen to. 

You’ve just released your gritty new single ‘Achilles’ – are there any particular themes running throughout it?
We have! Out of all our releases it’s probably the most difficult for us to attribute a singular theme or genre to – it’s an amalgamation of different ideas, but we always play with the notion of masculinity and try to flip it on its head. It ultimately developed into quite a tongue in cheek, playful song you can dance to, but the undertones of real emotion are still there.

We love the dark, thrashing sounds of the single, but who would you say are your main musical influences?
It’s a really tricky question. I’d say lyrically we’re influenced by anything and everything, from the darker styles of Joy Division to much lighter stuff like Devo, but drumming-wise I’ve always been pulled towards The Horrors, Our Girl, Idles… Anything with a heavy floor-tom and splashing cymbals. Growing up I loved watching Anna Prior from Metronomy, or Stella Mozgawa from Warpaint as incredible female drummers. Watching Stella definitely encouraged me to be more experimental in my own drumming, and branch out from letting the hi-hat and snare dictate my own drumming patterns.

How are you connecting with your audience and other musicians during the pandemic?
We (David) have done a few live sessions on Instagram and Facebook, but it’s so far removed from how we sound live that we’ve tried to engage through other means. We were a part of the Stay Home independent artists’ album earlier in 2020, and have done a few Instagram live interviews. But mainly we try to share our friends’ music as much as possible – I think getting support and recognition from other artists has been really important for loads of bands over the past 12 months. 

And has there been anything/anyone specific that has been inspiring you, or helping to motivate you, throughout these strange times?
I’ve been listening to a lot of podcasts and reading more over lockdown – I’ve just finished ‘Blonde Roots’ by Bernardine Evaristo, which I’d recommend! I think I’ve actually used this unintended break from music as an opportunity to engage more in other interests, rather than trying to force musical creativity. As a drummer living in a flat, it’s a little tricky to keep playing anyway, so I had to form new routines. In terms of motivation though, I’m definitely counting down to when we can play live and go to gigs again, and I think we’ll all value live music so much more after its 18 month absence!

How do you feel the music industry is for new artists at the moment – would you say it’s difficult to get noticed?
It seems like it’s always difficult to get noticed, but particularly at the moment. Social media is so heavily saturated with content it’s really hard to cut through, which is why we prefer to focus on live gigs and put on a real show. I think the key thing is not expecting people will just come to you, but reaching out instead – we’re pretty shameless in tagging and messaging BBC Intro, Steve Lamacq and big bands etc on Instagram, and sometimes it pays off! You just have to be super proactive if you’re trying to get industry recognition, but obviously if you’re just doing it for fun then you can do whatever you like!

As we’re a new music focused site, are there any other upcoming artists that you’d recommend we check out?
It’s pretty bad to think that, over the two years we’ve been gigging, we’ve probably only played with a handful of bands with other women in, but I’m really hoping that will change! I’d definitely recommend listening to Maya Law – she’s an incredibly talented upcoming musician and brilliant lyricist. I’ve also been listening to a lot of Liz Lawrence, she’s such a warm character both on stage and on record, and writes in a really frank and authentic way, which I think often gets taken for granted in the current music landscape. You should definitely check both of them out!

Finally, what does the rest of 2021 have in store for Murman?
That’s a big open question but I can safely say that if gigs are back, we’ll do doing as many as we can! We’re also releasing our music video for ‘Achilles’ in a month or so, so keep an eye out for that. Hopefully we’ll also be able to release another single later in the year, and play a few more gigs outside the M25. Getting into more cities across the UK was our original plan for last summer, so we’ll definitely be making the most out of the freedom we have to play again, to as many people as possible. For now, I’ll have to make do with my podcasts and David’s regular WhatsApp voice notes. 

Huge thanks to Abbi for answering our questions!

 

‘Achilles’, the latest single from Murman, is out now. Listen on Spotify.

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PLAYLIST: February 2021

We’ve made it through the first two months of 2021! Despite the current lockdown here in the UK, the GIHE team have been busy unearthing more new music gems to help you get through these long and tedious days. We’ve put together an eclectic mix of alt-pop gems, atmospheric electronics and gritty guitar tunes on our February playlist.

Take some time to scroll through our track choices below and make sure you hit play on the Spotify playlist at the end of this post. Follow GIHE on Spotify to hear all of our previous playlists too.

 

Scrounge – ‘Leaking Drains’
The new single from South East London duo Lucy and Luke – aka Scrounge – ‘Leaking Drains’ offers a stark soundscape reflecting on the state of society at the moment. Propelled by Lucy’s raw, snarling vocals and slashing guitar alongside Luke’s immense, thrashing beats, it builds to a colossal cacophony before coming to a disconcerting, abrupt end – only adding to the stirring tension that has built up throughout. Oozing a ferocious power, the duo have created something that is striking both in its jarring potency and rage-driven force.
(Mari Lane)

HAVVK – ‘Home’
The first single to be shared from HAVVK’s upcoming new album, ‘Home’ is a stirring reflection on appreciating those closest to you. Propelled by a shimmering ethereal fuzz, the track showcases the soaring celestial majesty of front woman Julie’s vocals, as they float with an impassioned splendour over scuzzy hooks and a gritty, driving energy. Fusing together tinges of ’90s grunge-fuelled angst with twinkling shoegaze sensibilities and the band’s own unique poignant grace, it’s a truly captivating soundscape. (ML)

Softcult – ‘Another Bish’
Informed by their love of Bikini Kill and Smashing Pumpkins, alternative duo Softcult blend atmospheric guitars, energetic percussion and bittersweet vocals to create their hazy, antagonistic sounds. Formed of Ontario-based twin sisters Phoenix and Mercedes Arn Horn, this single ‘Another Bish’ was born from their desire to resist and relieve the pressures of existing in a patriarchal music industry. I had a lovely chat with the grrls over Zoom a few weeks ago which you can read here. (Kate Crudgington)

New Pagans – ‘Harbour’
A tenacious celebration of women’s strength and resilience throughout pregnancy and childbirth, New Pagans’ latest single ‘Harbour’ is based on the experiences of vocalist Lyndsey McDougall’s pregnancy with her own daughter. Full of the Belfast band’s trademark urgent riffs and catchy melodies, it’s an empowering examination of the fears and triumphs that accompany this unique time in a woman’s life. I can’t wait to hear New Pagans’ debut album, The Seed, The Vessel, The Roots and All, when it’s released on 19th March. (KC)

Grandmas House – ‘Always Happy’
A thumping post-punk anthem that seethes with sardonic wit, ‘Always Happy’ is the latest single from Bristol-based trio Grandmas House. Released via Brace Yourself Records, the track is a raucous juxtaposition of the confident image we project externally to others, when internally we often feel the complete opposite. (KC)

Pretty Happy – ‘Salami’
A wise-cracking anthem about the complexities of processed meat, ‘Salami’ is the new single from Cork art-punk trio Pretty Happy. Full of sarcastic lyrics, gutsy vocals and crashing percussion, the track is a ridiculously good off-kilter banger that rambles through the band’s many absurd thoughts and feelings about the pork-based snack. (KC)

Hadda Be – ‘Another Life’
Complete with a refreshed line-up and new name, Hadda Be (formerly Foundlings) bring their shimmering joy to latest single ‘Another Life’. Despite the track’s somewhat melancholic sentiment – “it covers me in worry, now that’s all I ever know” – it’s buoyed by an infectious jangling energy as scuzzy hooks whirr alongside frenetic beats and Amber’s rich vocals. An uplifting slice of indie-fuzz-pop that’ll leave you longing to dance along to its sparkling sounds live. (ML)

Lauren Auder – ‘Heathen’
“I think this may be my favourite song I’ve ever worked on,” explains London-based songwriter Lauren Auder about this track, and I can see why. ‘Heathen’ is actually my first introduction to her sound, but what an intro it is! It mixes everything I love about electronic music – yearning vocals, urgent beats, rapturous synths and guitar noises – it’s all here and it gives me goose bumps every time I listen. Definitely check out Auder’s new EP, 5 Songs For The Dysphoric, if you’re into this. (KC)

Tyler Holmes – ‘Nothing’
I’ve only recently become acquainted with Tyler Holmes, but I have fast fallen in love with their poignant, affecting and utterly unique sweeping electronic soundscapes. Holmes has spent a lifetime crafting their own Black, Queer narrative by pushing the limits of their imagination and their innovative ability to fuse together genres to create truly stirring, instantly immersive sonic trips is showcased perfectly on ‘Nothing’. Holmes is set to release their new album next month via Ratskin Records. Watch the video for ‘Nothing’ here. (ML)

SPIDER – ‘Water Sign’
Born in Nigeria but raised in Dublin, London-based twenty-one year old SPIDER blends jagged electronics and brooding guitar riffs alongside her distinctive vocals to create her evocative sounds. Her focus is on how a track makes you feel – whether that’s a feeling of power, fluidity or chaos – and on ‘Water Sign’ she weaves these emotions into a cohesive, stirring electronic soundscape. (KC)

Roma – ‘Stay Like This’ (Tiiva Remix)
I’ve been following queer artist & producer Tiiva since I heard their re-working of Despicable Zee’s ‘We Won’t Stop’ last year, and I’m continuously impressed by their instinct for choosing talented and interesting artists to collaborate with. Tiiva reached out to songwriter Roma during lockdown after hearing her track ‘Stay Like This’ and the pair have worked together to create this lush, dreamy electronic tune. Roma originally wrote this song from the perspective of her daughter, exploring what it means to grow up in a modern world and Tiiva overcame their own adult cynicism to create this woozy new remix. (KC)

Show Boy – ‘Turn It On’
Following 2019’s Surreal, London artist and producer Show Boy has today released his much awaited brand new EP Ishtar Lion. A wonderfully eclectic collection, the EP showcases Show Boy’s knack for blurring genre boundaries, combining influences from across the musical spectrum to create perfectly catchy offerings oozing an uplifting, vibrant energy and heartfelt emotion. Driven by the soaring power of his unique vocals, ‘Turn It On’ interweaves an intricate musicality with a sparkling soulful splendour, resulting in a euphoric ode to new beginnings. (ML)

Callaz – ‘Queima Essa Ideia’
Recorded in Berlin and produced by the brilliant Ah! Kosmos, the title of this latest single from songwriter Callaz translates roughly as ‘Burn That Idea’. Based between Lisbon and Berlin, Callaz has recently released her second album, the brilliantly titled Dead Flowers & Cat Piss, and it’s full of her soft vocals, candid lyrics and alt-pop soundscapes. (KC)

Grove – ‘Ur Boyfriend’s Wack’
Bristol-based hyper-pop artist Grove blends chaotic synths, warped beats and wicked rap verses on this high octane track ‘Ur Boyfriend’s Wack’. Taken from their debut EP, QUEER + BLACK, this song forms part of Grove’s aural journey through their experiences of being young, black and queer. (KC)

Ci Majr – ‘Summer Drug’
Ci Majr is an emerging non-binary artist from Atlanta and this new single ‘Summer Drug’ is a flirty, joyful dose of dancing beats and smooth vocals. Of the track, Ci explains: “I think a lot of us have been in a place where we’ve been hurt from a relationship and have a hard time opening up again…so this song is saying ‘yes, you can absolutely satisfy my physical needs but we’re not taking it further than that’; likening ‘using’ someone for their body just like you’d use a drug of some sort.” (KC)

Desire – ‘Zeros’
The latest single from Desire, ‘Zeros’ will capture the ears with its sweeping celestial aura. As a majestic, electro-driven soundscape provides the backdrop for Megan Louise’s honey-sweet soaring vocals, glitchy beats and twinkling hooks create a truly moreish offering, oozing an ethereal, effervescent grace. Of the track, Desire explain: “As the calendar pages fly by, we are all reaching for a new normal on what sometimes feels like an endless loop. The cyclical music echoes flashback sequences of a recurring dream.” (ML)

Blonde Maze – ‘Fade Into You’
An exquisite rendition of a Mazzy Star classic, Blonde Maze’s ‘Fade Into You’ oozes all the poignant, rich emotion of the original, whilst adding her own unique blend of soaring electronics and uplifting chiming beats to create something truly euphoric steeped in its own ethereal splendour. Another blissfully cathartic creation from Blonde Maze, showcasing her ability to take an already beautiful track and transform it into something that is completely, undeniably, and majestically, her own. (ML)

Kalbells ft. Miss Eaves – ‘Pickles’
A dreamy tune about escaping a romantic pickle, ‘Pickles’ is a delightful new offering from cosmic-pop collective Kalbells, featuring rapper Miss Eaves. Kalbell’s will be releasing their new album Max Heart on 26th March, which they describe as a “portrait of badass women harnessing their improvisational magic.” (KC)

pecq – ‘Stranger’
‘Stranger’ is the debut single from Oxford psych-pop duo pecq, aka Nikò O’Brien and Hannah Jacobs. It’s a delicate, lush soundscape which the pair wrote, produced and self-released through their own label, Upcycled Sounds Records, earlier this year. pecq are set to release their debut EP, also called Stranger, this summer. (KC)

Jenny Moore’s Mystic Business – ‘Woman Is A Word’
A cover of Empress Of’s ‘Woman Is A Word’, this latest offering from the six-piece choral punk ensemble highlights the power of voices coming together in unity. Oozing a sweeping, celestial splendour, the many vocals flow together in harmony, propelled by an upbeat, jazz-infused musicality. Adding their own unique euphoric energy to the poignant sentiment and soulful passion of the original, Jenny Moore’s Mystic Business have created an emotive and empowering rendition. (ML)

BAXTR – ‘Grace On Fire’
The latest single from London-based trio BAXTR, ‘Grace On Fire’ reflects on the feelings of helplessness that come with seeing someone you love suffer. A sweeping, uplifting slice of alt-pop it oozes nostalgic tinges harking back to the anthemic indie classics of the early noughties, whilst maintaining its own unique shimmering power. As Floss’ honey-sweet vocals flow with a celestial majesty throughout, the track builds with explosive, soaring riffs and a swirling heartfelt emotion to create something truly stirring. (ML)

Samantha Crain – ‘Bloomsday’
Taken from her upcoming new EP, I Guess We Live Here Now, Samantha Crain’s latest single ‘Bloomsday’ is a poignant slice of Americana combining beautifully strummed melodies and a stirring warmth. As the impassioned subtle power of Crain’s rich vocals ooze shades of the raw emotion of Sharon Van Etten, twinkling hooks flow with a rustic charm to gently grace the heartstrings. I Guess We Live Here Now, the upcoming new EP from Samantha Crain, is out 9th April via Real Kind Records/Communion Records. Watch the video for ‘Bloomsday’ here. (ML)

Ex:Re – ‘Where the Time Went’ (with 12 Ensemble)
This song stopped me in my tracks when I first heard it. The title, Elena Tonra’s vocals and lyrics, composer Josephine Stephenson’s cinematic string arrangements – they all resonate so much deeper during this extended period of lockdown. ‘Where The Time’ went is one of ten beautiful tracks on Tonra’s new collaborative album, Ex:Re with 12 Ensemble, and it’s accompanied by a wonderful music video that she directed too. Watch it here. (KC)

Hannah Peel – ‘Ecovocative’
I’m very late to the Hannah Peel party, but I’m in love with her ambient electronic soundscapes. This single ‘Ecovocative’ is lifted from her upcoming album Fir Wave, which is set for release on 26th March via Peel’s own label My Own Pleasure. (KC)

 

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FIVE FAVOURITES: Sunflower Thieves

Combining charming vocal harmonies and soft guitars to create their delicate pop-folk sounds, Leeds duo Sunflower Thieves write tunes inspired by personal narratives and nostalgia. Their musical creations have blossomed out of a sixteen year friendship between band members Amy and Lily, and their upcoming single ‘Don’t Mind The Weather’ is a warm reflection on staying grounded and safe within the relationships with the people you trust.

We think one of the best ways to get to know a band is by asking what music inspired them to write in the first place. We caught up with Amy and Lily to ask them about their “Five Favourites” – five albums that have inspired their song-writing techniques. Check out their choices below and scroll down to watch Sunflower Thieves’ lyric video for ‘Don’t Mind The Weather’ at the end of this post.

1. Sylvan Esso – What Now
Lily: Since I was first introduced to Sylvan Esso with their song ‘Hey Mami’, I just completely fell in love. Amelia’s gorgeously beautiful vocal alongside Nick’s impossibly catchy production is just the perfect mix to leap around your bedroom or just lie on the floor and weep. When this album came out I was absolutely obsessed and it’s all I wanted to listen to for a really long time. I remember every time that me and my best friend got in the car to go anywhere we’d blast it out on the country roads and just scream along without a care in the world.

I think the main thing I gained from listening to them was the reassurance that having a soft vocal does not mean that you can’t sing. At the time when we started singing together I felt very self conscious about my voice because I wasn’t/will never be a belter! But as I grew up and started listening to more and more music I realised that that wasn’t the be all and end all.

2. MUNA – Saves The World
Amy: I first came across MUNA through one of my Uni lecturers. I don’t think he would have predicted what an impact they would have on me. Lyrics are a big thing for me and there aren’t many people who cut straight through to your feelings like MUNA. It’s hard to choose between this album and About U, but Saves The World came along during my time at Uni and for me, it’s attached to a lot of my personal growth, new experiences and wonderful friends found during that time. I can’t wait to be back in a room with my friends, dancing to this album and celebrating loving each other and being exactly who we all are.

3. Phoebe Bridgers – Stranger in the Alps
This is our joint choice and always our reference for writing inspiration, production inspiration and general wonderful human being inspiration. We couldn’t tell you how many times we’ve been working on a song and one of us has said “you know in ‘Scott Street’ where she does this…we could try that!” We’d never heard anyone say things the way she says them before and when we first heard ‘Motion Sickness’, it was an instant “yes please.” Phoebe has helped us find our sound, inspired us to write the kind of music we want to write and we definitely aspire to achieve the kind of poetic realism her lyrics hold. In this album, Phoebe helped Sunflower Thieves’ writing grow and she hasn’t disappointed since.

4. Darwin Deez – Songs For Imaginative People
Lily: It was hard to choose which Darwin Deez album to pick! I think I know every word to every song he’s ever released. However, I reckon this album has really influenced the lyrics I write. The word play in his song-writing is something I strive for and all his outer-space metaphors excite me, I just love how geeky he is! I feel like we’d get on. I first heard of him because a friend at school recommended his song ‘Radar Detector’ and that was it, I was hooked. My favourite song on this album is ‘Alice’, it’s the song that plays automatically every time I plug my phone into the car stereo and I don’t hate it! I just love how honest and real he is, in a weird and wonderful way.

5. Sam Fender – Hypersonic Missiles
Amy: My ultimate go-to running/driving album (drumsssss + Springsteen vibes). I first saw Sam Fender play live at The Bodega in Nottingham in 2018 and have followed his journey since – I don’t think I’ve ever been so excited about an artist’s debut album. I listened to nothing else for weeks after the release – my friends and housemates at the time can attest for that! I have Geordie family, so I guess that’s why I feel at home with his music.
It’s so refreshing to hear an artist address real, difficult subjects with such intimacy and fragility. This album makes me feel angry, powerful, vulnerable and uplifted. And probably most importantly for me, the lyrical content of this album makes me want to write songs.

Thanks to Amy & Lily for sharing their favourites with us!

Watch the lyric video for Sunflower Thieves’ new single ‘Don’t Mind The Weather’ below.

Follow Sunflower Thieves on bandcamp, Spotify, Twitter, Instagram & Facebook

Photo Credit: Alice Ashley

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PREMIERE: Leah Callahan – ‘Smell’

You may know Leah Callahan as the lead singer of Bostonian art-rockers Turkish Delight whose albums were re-released in 2019 by UK label, Reckless Yes; or from the post-punk act Betwixt; or even shoegazers The Glass Set. But now she has shared her first solo album since 2003’s Even Sleepers, Simple Folk. Whereas Even Sleepers was a bossa-nova slice of late night acoustic, Simple Folk (which will be self-released next month) takes Leah back to the beginning. Full of big instrumentation and confessional lyrics, it’s nine songs ‘tackle over-consumption, environmental ruin and elitism’ as well as recounting Leah’s “myriad fears and personal failures”, and takes its musical cue from the British pop of her childhood in the ’80s.  

Following a request from Leah herself, we’ve chosen ‘Smell’ as our standout from the album. A sprightly 3 minute pop-punk romp, with a choppy, repeating guitar riff, its lyrical content is about as direct as it comes. “You smell…” echoes Leah’s voice, “like money, with a forked tongue”. There’s not much in the way of complexity here but it’s a kind of raw, anti-capitalist poetry – “Your silver keeps whales away” (a reference to the extinction threat being faced by the species in the North Atlantic).  Throughout, the lyrics point the finger at those who want to smell “real / Not like the Earth”, who give “dirty looks” in hotel lobbies and “look the other way”, providing they have their cash. 

Using scent as a kind of indelible mark against those who harm the planet and the humans who live on it is a pretty neat conceit – mind you, so is enveloping those lyrics in the hammer and nail of a three piece garage band. Multi-instrumentalist Alex Stern is responsible for much of the backing on the album and it’s possible to hear Brit-pop influences in some of the bridges between verses, when the drive of his guitar and the percussion switches into a performative flick. This is a rock song, primarily though, and it’s that underscoring wave of riffs that gives ‘Smell’ the extra power that its lyrics deserve. Machine gun drums switch in and out of the top line to rattle this one into the listener’s head throughout.

In some ways, this sound and style is not particularly evocative of the album as a whole, but that ability to wear many masks is one of the hallmarks of Callahan’s career. Indeed, in some ways ‘Smell’ is probably closer to ‘Spin’ (from Turkish Delight’s debut Tommy Bell) than any of the other tracks here. But despite the sophisti-pop Style Council leanings, there’s still a nuance and intelligence to Callahan’s approach to pop: with the titles of ‘1997 Again’, ‘I Wish That I Had Never Met You Music’ and ‘A Woman of Few Things’ giving some indication to her experiences of the industry. Perhaps most wry of all is the fuzzed out cover of Mary Hopkins’ ‘Those Were The Days’ – always an oddly grim no.1 hit from 1968, here turned inside-out but retaining its Eastern European sonic roots.  

Simple Folk is neither ‘simple’ nor ‘folk’, by and large, but the several meanings of its title reflects a complexity that has been redolent throughout Leah Callahan’s career. ‘Smell’, meanwhile, shows that, some thirty years on from the days of Turkish Delight, her senses are still intact.

Listen to ‘Smell’, for the first time, here:

 

Simple Folk, the new album from Leah Callahan, is set for release 22nd March. Pre-order here.

John McGovern
@etinsuburbiaego

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