LIVE (Photos): Cherym @ Paper Dress Vintage, 24.02.2024

Having just released their debut album, Take It Or Leave It, last month via Alcopop! Records, Northern Irish trio Cherym have been big faves of ours since I first fell in love with them playing Paper Dress Vintage back in 2021. And I was lucky enough to re-live this experience last Saturday as they returned to the venue, delivering an even more wonderful set to an even bigger and adoring crowd. Fizzing with all the colourful punk-pop energy we’ve come to know and love, whilst offering fierce reflections on gender inequality and violence against women, as well as their own lived experiences as Gen Z queer folk, both the album and their live set continue to cement Cherym as one of the most exciting bands around at the moment. And I fully expect to be seeing and hearing lots more of them throughout 2024 – find out more here.

As well as immersing ourselves in their captivating raging joy at the gig last week, we were lucky enough to have a quick chat with Hannah and Alannah from the band about the tour and the new album. See our photos of the night, including excellent support from new faves Brutalligators and Hamburg’s Get Jealous, and snippets from the interview below…

Hannah: “The tour has been really, really good – we sold out our first ever Manchester headline show which was really exciting, and we also sold out our London show which is incredible. For me, it just sort of confirmed there has been a growth for the band and that more people are starting to hear our music which is amazing, and it’s a really exciting thing that’s starting to happen. We’re currently just back from the Netherlands which was really cool, there were loads of people we got to see that we haven’t met before that we’ve seen online and stuff. It was just really exciting.”

Hannah: “We wanted this album to be our truth. We wanted to be unapologetically ourselves, and I feel like that’s what we stuck by. People always used to label us as being a political band based primarily off the fact that we were all femme presenting people. We were all women and non-binary people within the band, and we were all also queer, but we never outwardly said we were a political band, we just got labelled as such. So I think with this record we were like, ‘you know what, we’ll give you political’. We have songs like ‘Alpha Beta Sigma‘ that’s very reflective of everything that’s been happening, like the atrocities of the church back home, and songs like ‘The Thing About Them’ which is about Nyree’s experience as a non-binary person, and we just wanted to speak our truth on a lot of issues.”

Alannah: “The fans have been really supportive. The new fans especially have really grasped onto the album and it’s been really lovely to see that we’ve connected with so many people. The fans that have stuck by us for a really long time have really resonated with it as well. A lot of our fans tend to be one of two people – old punk rockers who feel nostalgic about the new punk scene, and then the other side is younger fans who can relate to the lyricism and style of music that we play. When we were teenagers we really had nobody to look up to, or if there were they would be hidden between all the mainstream artists who were white men. It’s kind of nice that we’ve been able to showcase queer punk because we all come from different backgrounds, and it’s nice to see younger fans identify with that.”

Alannah: “I think our festival season is going to be really interesting this year with the new album out in the world. We’re hoping to go abroad this time again when it comes to festivals, some bigger and better things — climbing up that ladder -, which we’re really excited for. There may be some announcements coming soon too…

Hannah: “Yeah new adventures in new territories! Next for us is the Enter Shikari shows in Ireland, so we’ve got two shows in Dublin and we’ve got a show in Belfast as well, which is just insane because we’ve all been fans of this band from when we were teenagers, so to be selected to be one of the support acts for this tour is incredible. And we’re playing with Meryl Streek as well, which is going to be amazing – we love Meryl and we love his music and everything he stands for, so it’s going to be really cool.”

Alannah: “We also have something exciting in the bag that we recently announced… Our cover of Doja Cat’s ‘Boss Bitch’ which is coming out on International Women’s Day, so we’re really excited to see the reception for that! We’re also doing German dates with Get Jealous and we’re also playing again in Germany later this year with The Undertones – I think that’s all we can say without getting in trouble for now!”

Get Jealous:

Brutalligators:

Massive thanks to Hannah and Alannah from Cherym for chatting to us, and putting on such a wonderful show at Paper Dress Vintage last weekend! Take It Or Leave It, the new debut album from Cherym, is out now via Alcopop! Records – order here.

Photo Credit: Paul Dawes / @GRNDglass

mariangelicalaneLeave a comment

FIVE FAVOURITES: The Klittens

Blending buoyant riffs, playful lyrics and infectious melodies together to create their lo-fi indie sounds, Amsterdam five-piece The Klittens are gearing up to release their new EP, Butter, on the 8th March.

Formed of Yaël Dekker (lead vocals), Katja Kahana (guitar & backing vocals), Winnie Conradi (guitar & backing vocals), Michelle Geraerts (bass & backing vocals), and Laurie Zantinge (drums), the band have spent the past few months on the road performing live across the UK, returning to their hometown tonight (March 1st) to play their EP launch show at the Cinetol in Amsterdam.

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 The Klittens to ask about their “Five Favourites” – five albums that have inspired their songwriting techniques. Check out their choices below and scroll down to listen to their latest single ‘Reading Material’ at the end of this post…

 

1. Blonde Redhead – Melody of Certain Damaged Lemons
Winnie Conradi: I remember the first time I heard Blonde Redhead. I was a 20 year old student who had just moved to Amsterdam. Their song ‘In Particular’ appeared in my Discover Weekly and I haven’t stopped listening to it since. Later, I got into Sonic Youth and this sparked an interest in me to listen to the full Blonde Redhead album. I was immediately hooked: the melodies are beautiful and quite dark, the album has a huge dynamic range, and the voices of Kazu and Amedeo are these perfectly imperfect entities. This album ticks all my boxes and there is not one moment where my focus drifts off. Simone, the drummer, is phenomenal and knows exactly how to weave himself into the songs, almost like a melodic instrument. This makes the music incredibly exciting to listen to, I’m always on the edge of my seat or jumping around listening to this. When I think about a future The Klittens album, this is a great inspiration for me because I would love for the debut album to also be dynamic, dark, exciting, emotional and poetic.

2. Stereolab – Switched On
Katja Kahana: One of my favorite albums, or compilations, is Switched On. I have loved it for so long and it still makes me happy. When first discovering the songs, I was so excited that I immediately wanted to share one with Yaël, who was already lying in bed, so instead I sang it to her while she was drifting off to sleep. The atmosphere has something optimistic and encouraging about it. I like the combination of grittiness on one side and warm melodies on the other, and how the consistent rhythm creates room for playfulness. Stereolab always inspires me when writing music.

3. The Prodigy – Music for the Jilted Generation
Yaël Dekker: I suck at these kinds of questions and I guess I don’t listen to albums the way they were “intended” enough. The first time I consciously heard a Prodigy track was when I was 9 and snuck into the movie theater to watch Charlie’s Angels: Full Throttle, an amazing movie. There’s this scene where Drew Barrymore dropkicks a buff sword-wielding Irish guy in a burning warehouse, underscored by Firestarter. I guess that just really resonates with me as an artist. Recently I came to the conclusion that I listen to this album a whole bunch, every day even, and I won’t stop soon. It’s the best soundtrack while walking through a city, doesn’t give you time to think, bleak enough to match the landscape. Just really good, in an angry and happy way, and also pretty damn funny.

4. Institute – Catharsis
Marrit Meinema: This is one of the few albums that never bores me, and I think that as a newcomer to The Klittens, it also, in surprising ways, ties in with what drew me to the band (and why I’m so happy to play with them). There’s a certain cynicism in Moze’s lyrics that resonates with me, which I also find in the lyrics of The Klittens. While themes may differ, the lyrics evoke a mix of poetry, a sense of banality and debunking preconceived notions of humanity. The drums sound amazing, Adam is a true machine, driving each song with such force and finesse. The gritty, distorted bass, the wailing guitar melodies as well as their upbeat riffs never cease to send shivers down my spine. It’s an amazing punk (rock) album, whatever genre you want to give it (i’m horrible at it), but still something you can dance to. I think it’s this attitude that I also find in The Klittens, which I love and hope to bring to the band as well (together with my distorted bass, naturally).

5. Kraftwerk – Die Mensch-Maschine
Laurie Zantinge: My father is a huge Kraftwerk fan and at home we always had either Kraftwerk or the Smurf House Hits CD on. Although the Smurfs also had a great influence on my taste in music, I think Kraftwerk is a bit more credible. I chose Die Mensch-Maschine because this album is packed with certified pop bangers and it is just true nostalgia to me. I was lucky enough to see Kraftwerk live a couple of times and everytime I see a Kraftwerk show I’m completely blown away. Normally I prefer watching bands where you can see exactly who is playing what instrument and making what sound, but with Kraftwerk I make the exception to enjoy watching four men in lycra suits standing still and turning some knobs. Also the sound at their live shows is always more than amazing, it really gives you the space to completely immerse yourself into the sounds of the pioneers of electronic pop music. Although there’s almost no similarities between Kraftwerk and The Klittens, I think the repetitiveness and drone-like sounds are things that I really like to take with me when writing songs.

Thanks to The Klittens for sharing their favourite albums with us!
Pre-order The Klittens’ upcoming EP, Butter, here

Check out the video for their single ‘Reading Material’ below

Photo Credit: Jade Sastropawiro

Kate CrudgingtonLeave a comment

PLAYLIST: February 2024

The Get In Her Ears team have put together another eclectic mix of alternative anthems, grunge & shoegaze tunes, electronic sounds and indie & folk musings for your listening pleasure. Take some time to scroll through our track choices below, and make sure you press play on the playlist at the end of this post.

Follow GIHE on Spotify to hear all of our previous playlists too.

Whitelands – ‘Cheer’
GIHE fave London shoegazers Whitelands came into the Soho Radio studio earlier this month to chat to us about their debut album, Night-bound Eyes Are Blind To The Day, and I have been listening to the record on a loop since its release. I saw them live supporting Slowdive at Hammersmith Apollo, and it was wonderful to hear their magnetic sounds ring out around the walls of such a prestigious venue. The GIHE team are so excited to see them again at their London album launch gig at Rough Trade on 5th March.
(Features Editor -Kate Crudgington)

Hypsoline – ‘Disposable Girl’
Firm favourites who we’ve been lucky enough to have play for us a couple of times now, Brighton’s Hypsoline have now shared new single ‘Disposable Girl’. Written from the viewpoint of a heartbroken teenage girl, the track oozes the band’s scuzzy power and versatility of front person Trilby’s rich vocals. Building with a hazy allure, it showcases the band’s ability to create instantly catchy rock anthems, and I can’t wait to hear more from them this year. (Managing Editor – Mari Lane)

HAVVK – ‘Take It From Me’
We’re extremely excited to have Irish trio HAVVK return to play live for us at our next gig on 28th March at Shacklewell Arms. Having headlined the first ever gig we hosted back in 2016, it feels pretty special to be hosting them again, and – with support from lovely bands like Athabaska and Rats-Tails – it promises to be a dreamy night! This latest single showcases all the gritty, grunge-fuelled energy and celestial splendour we’ve come to know and love from the band. To Fall Asleep, the new album from HAVVK, is set for release on 15th March. Come and celebrate its release with us at The Shacklewell Arms! Tickets here. (ML)

Projector – ‘Don’t Give Anything Up For Love’
Congratulations to Brighton trio Projector on the release of their debut album, Now When We Talk It’s Violence. Unsurprisingly, it’s a superb record that showcases the band’s evolution in sound, full of grinding riffs, intense vocals and propulsive beats. This is my favourite track from the record. (KC)

Wisp – ‘Once Then We’ll Be Free’
19 year-old San Francisco-based musician Wisp has been on my radar for a while now. I’ve been soaking up her lush shoegaze sounds, and this single ‘Once Then We’ll Be Free’ is another potent blend of her hushed vocals, swirling riffs and driving beats. (KC)

Nightbus – ‘Average Boy’
Released via So Young Records, ‘Average Boy’ is the dreamy new release from Northern trio Nightbus. Speaking about the track, the band explain: “‘Average Boy’ is a narrative I’m sure many of us can relate to. The feeling of inadequacy, dysphoria, a longing for something that might never materialise. Those small moments that feel like destiny are reduced to bittersweet memories. We all search for something, we get caught in cycles, we lose our way, half the time we don’t even know what we’re looking for. Gender, perspective, culture, we are all in some way the average boy.” (KC)

Brimheim – ‘Normies’
I’m a big fan of Danish-Faroese artist Brimheim, and this single has been swirling around my head all month. Taken from her upcoming second album, RATKING, which is set for release on 22nd March, her new record explores shame, self-deception and tragic love. I adored her debut album, can’t hate myself into a different shape, and think her new offering will be equally as excellent. She’ll be playing The Lexington on Weds 22nd May. (KC)

Baby In Vain – ‘Afterlife’
This is the title track from Danish trio and longtime GIHE favourites Baby In Vain’s latest album. The record showcases a softer, more shoegazey approach to the band’s songwriting, compared to earlier heavier releases, but it still retains the slow-burning tenderness that makes all of their music so compelling. (KC)

total tommy – ‘microdose’
This is the debut single from Australian songwriter total tommy, who has recently singed to [PIAS] Recordings. A lovely hit of lo-fi indie-grunge, ‘microdose’ was written in total tommy’s bedroom studio in Sydney on a stormy night, and reflects on an addictive, all-consuming crush. (KC)

Tusks – ‘Strangers’
Another affecting, evocative offering from London-based electronic artist Tusks here. ‘Strangers’ is lifted from her upcoming album, Gold, which is set for release on 12th April via One Little Independent Records. She will be playing at Rough Trade East on 13th April to celebrate the release of the album. (KC)

Tolü Makay – ‘Mind & Body’
Nigerian-Irish artist Tolü Makay has returned with this wonderful new single about the importance of being present in the moment, with her emotive voice guiding listeners through this process. Speaking about the track, Tolü explains: “’Mind & Body’ explores the anxiety we feel when our body is numb to the moment while our mind is drowning in senses, screaming for us to be present in the here and now. It’s about allowing ourselves to breathe, about taking care of our bodies, about being present even when everything is moving so rapidly. In this cultural moment we are so concerned and cornered by our thoughts, our appearance, our voices and narratives that we tell ourselves. It is so hard to simply just be. ‘Mind & Body’ is a reminder to be present. To come together. Not just with yourself, but with each other. In Mind and Body.” (KC)

Elsa Hewitt – ‘Citrinitas’
I saw Elsa Hewitt play live again recently at Loki in Brixton, and I was hypnotised by her lo-fi, but very intricate synth loops and vocal improvisations. This wonderful soundscape ‘Citrinitas’, is taken from her upcoming eighth album, Chaos Emeralds, which is set for release on 12th April. Chaos Emeralds is the result of an intense few years of personal change and growth for the artist, full of field recordings and poetry extracts, all underscored by her trademark magnetic electronica. (KC)

Sheherazaad – ‘Dhund Lo Mujhe’
Following last year’s completely spellbinding debut single, ‘Mashoor’, Brooklyn-based composer and vocalist Sheherazaad has now shared the second taste of her upcoming album. As stirring waves of sound intertwine with a somewhat buoyant energy, ‘Dhund Lo Mujhe’s celebratory tone is at once juxtaposed with a disconcerting undercurrent. Building to a swirling rich cacophony, it offers a stark reminder to embrace our own unique joy in the face of damaging stereotypes. Qasr, the upcoming debut album from Sheherazaad, is set for release on 1st March via Erased Tapes. (ML)

M(h)aol – ‘Pursuit’
Irish post punks M(h)aol have returned as a four piece with this cutting new single ‘Pursuit’. Drummer and vocalist Constance Keane explains more about the pent up frustration and fear that underscored the track’s conception: “’Pursuit’ is about the experience of being followed home. Sadly, I think it’s something most women have experienced, and something that makes you change your behaviour on a very practical level. It first happened to me when I was 12, and it stayed with me for a long time. The experience of choosing your outfit based on how quickly it could help you get out of a dangerous situation is something I don’t even notice I’m doing sometimes, and that in itself scares me. What am I doing choosing shoes I know I can run fast in, rather than the ones that would go better with my outfit? As a whole, the song is built out of frustration that has accumulated over the past 30 years of being a woman in public.” (KC)

Lambrini Girls – ‘God’s Country’
Currently taking the world by storm, Lambrini Girls are not afraid to call out the government and those complicit in the deterioration of society. Offering a brutal condemnation of ‘Great’ Britain, latest single ‘God’s Country’ seethes with an immense energy and angst-driven power, emanating a raging sense of urgency throughout, cementing Lambrini Girls once again as a truly formidable force that we need now more than ever. Of the track, the band clarify: ““God’s Country is our long, overdue call-out of the government and rise of the far right… Great Britain. Think colonial, shit-hole, chunk of land. Thriving off unhinged nationalism, fed to us by the right red hand of unelected prime ministers… We could deep dive into inspirations and influences- but the song’s about politics, not us. We hope the song speaks for itself. Rishi, Cameron, Cummings, Starmer – you’re all on our shit list.” (ML)

CLT DRP – ‘Until You Showed Me’
Described as a “gender-fluid love sing”, this is the first new material from Brighton-based art punks CLT DRP since they released their second album, Nothing Clever, Just Feelings, via Venn records last year. Speaking about the track, powerhouse vocalist Annie Dorrett explains: “Femininity is a word that has haunted me my whole life, whereas Masculinity is something that I’ve longed for. ‘Until You Showed Me’ is a love song to my current partner for making my gender fluidity something that they nourish and make room for rather than dismiss or ignore. It’s no secret that a lot of people feel the need to lean into a gender role in order to gain respect or normalcy and if they mess with anything outside the binary it can seem threatening. Funnily enough I’ve found myself playing with my femininity a lot more now that I’ve found comfort in my skin again. This song is a little ode to the queers and anyone who strays from the binary in any way small or large. Break the wall from either side, that’s how we get ‘em to listen.” (KC)

Loose Articles – ‘I’d Rather Have A Beer’
Having recently announced the release of their debut album later this year, Manchester’s Loose Articles bring all the racing, roaring energy in latest single ‘I’d Rather Have A Beer’. Offering a warning about those toxic people who won’t make the same effort for you that they expect from you, it’s a perfect, post-punk ode to prioritising your own self worth, having fun with with your pals (over a nice pint) and moving on with your life. (ML)

Bridget. – ‘Take Me Down’
Taken from her debut EP, Damage Reversal, ‘Take Me Down’ is an anthemic offering from Essex-based grunge punk artist Bridget. She will be playing a gig at Luna in Leytonstone on 16th March as part of her EP tour, so if you like what you hear, make sure you grab a ticket to go and see her. (KC)

SPIDER – ‘an object of desire’
‘object of desire’ is the title track from Irish-born, London-based alt-pop artist SPIDER’s brand new EP. The record is a gritty, candid offering, exploring “the unholy trinity of young adulthood” and the web of sex, objectification and self-worth. We interviewed SPIDER on our Soho Radio show for our Great Escape Festival special last year, and she was a breath of fresh air. We’re so excited to see her getting the attention she deserves. SPIDER will play her first ever London headline show at London’s Camden Assembly on March 20th. (KC)

Gouge Away – ‘Dallas’
I was hooked on ‘Stuck In A Dream’, the powerhouse previous single from Florida-based alternative five piece Gouge Away. ‘Dallas’ marks a gear change in sound for the band, but it’s still a heady, corrosive sonic dive into what it feels like to hit rock bottom. It’s taken from Gouge Away’s upcoming third album, Deep Sage, which is set for release on 15th March via Deathwish Inc. (KC)

Heave Blood & Die – ‘Men Like You’
I love this intense offering from Norwegian post-punk collective Heave Blood & Die. It’s lifted from their fourth album, Burnout Codes, which they released back in January. Dedicated to bassist Eivind Imingen, who decided to end his life just following the recordings of the album, Burnout Codes shows the Norwegian collective offering their most textured and innovative album to date, acting as a tender tribute to the talent of their bandmate. (KC)

Dissolved Girl – ‘Silt’
This London-based four piece are named after one of my favourite Massive Attack songs. Dissolved Girl have been meticulously crafting their debut album over the past four years, and this track ‘Silt’ is the second hint at what’s to come. Brooding riffs, trip-hop style beats and a potent vocal all blend together to create a captivating, grunge-infused soundscape. (KC)

CHERYM – ‘Alpha Beta Sigma’
Having just released their debut album, Take It Or Leave It, this month via Alcopop! Records, Northern Irish trio Cherym have been big faves of ours since I first fell in love with them playing Paper Dress Vintage back in 2021. And I was lucky enough to re-live this experience last Saturday as they returned to the venue, delivering an even more wonderful set to an even bigger and adoring crowd. Fizzing with all the colourful punk-pop energy we’ve come to know and love, ‘Alpha Beta Stigma’ offers a fierce reflection on the immense gender inequality and violence against women that still permeates Irish society. One of the most exciting bands around at the moment, I fully expect to be seeing and hearing lots more of Cherym throughout 2024. (ML)

Laura Jane Grace – ‘Birds Talk Too’
Having just released their new album, Hole In My Head, earlier this month, legendary Against Me! Front-person, author and transgender activist Laura Jane Grace offers an uptempo ode to the city of Amsterdam in latest single ‘Birds Talk Too’. I love how its fuzzy punk energy propels the distinctive resonant power of Laura’s vocals, creating a fiercely fun-filled anthem. (ML)

The Empty Page – ‘Cock Of The Fifth Year’
The new single from Manchester’s The Empty Page, ‘Cock Of The Fifth Year’ offers a raging reflection on those ‘jock-type’ guys who often use their size and gender as a means of intimidating others. Of the track, front person Kel explains: “Unfortunately, there are still a lot of blokes like that I encounter when walking around my home city of Manchester. Swaggering, mouthy bellends who can be pretty intimidating when you’re a woman just trying to get from a to b.” I love its gritty energy and the raw power of Kel’s vocals, and can’t wait for the release of The Empty Page’s new album, Imploding, on 24th May. (ML)

Bleach Brain – ‘Crack’
Bleach Brain are a Liverpool-based punk/grunge trio who create anthems filled with heavy riffs and distorted vocals. This track ‘Crack’ is lifted from their excellently named EP, EAT SHIT, which they released at the beginning of the month. The band describe their new record as “a rebellious, angry, energetic EP with songs about violence, abuse, and capitalism.” (KC)

Charley Stone – ‘A Scream’
If you live in London and go to gigs, you probably already know Charley Stone. With a musical CV too long to list, and currently a gigging guitarist in bands such as Sleeper and Desperate Journalist, she has now announced the release of her debut solo album. The first song that Stone ever wrote on electric guitar (back in the last century!), it offers an insight into her creative process and artistic license. With scuzzy hooks that ripple alongside distinctive vocals oozing luscious delayed tones, it builds with a whirring energy to a colourful cacophony. Here Comes The Actual Band, the debut album from Charley Stone, is set for release on 29th May. (ML)

NEXT TO NADA – ‘Whine, Lips’
This track is lifted from London-based noise makers NEXT TO NADA’s upcoming EP, WHINE // MOTHS, which they will be self-releasing on the 15th March. It’s a grinding, punk-infused reflection on pent up frustrations, which vocalist, guitarist and lyricist Georgie explains further: “‘Whine, Lips’ is a self-lament/piss-take that I wrote whilst in a particularly lengthy period of self-destructive behaviour. Dissociation, jealousy, unease, apprehension and defeatism were all running amok in the closed quarters of a brain – leading to (what feels like) a tiresome, vicious circle of poor coping mechanisms and pessimism.” NEXT TO NADA will be playing live at the Dublin Castle on 30th May. (KC)

Um Jennifer? – ‘Glamour Girl’
Having first fallen in love with New York trans duo Um Jennifer last year when I couldn’t get enough of their single ‘Girl Class’, I’m now equally obsessed with latest offering ‘Glamour Girl’. With its playful energy and catchy hooks, it reflects on the pros and cons of recurring patterns in relationships. It’s a fuzzy lo-fi slice of punk-pop perfection that leaves me excited to hear the entirety of Um Jennifer’s new EP, The Girl Class EP, which will be out on my birthday (5th April, for those who don’t know). (ML)

Parsnip – ‘The Light’
A new discovery for me, Melbourne band Parsnip have just announced details of their upcoming album, Behold, which will be released on 26th April via Upset The Rhythm. New single ‘The Light’ fizzes with jangly hooks and an uptempo Raincoats-esque energy; the perfect uplifting antidote to our dreary British weather. (ML)

Lilith Ai ft. Kimya Dawson – ‘Fawn’
Taken from her upcoming album, Serial Killers Prefer Blondes, which is set for release on 13th September via Cruisin Records, this track from London-based indie-rock artist Lilith Ai is an affecting blend of confessional lyrics, atmospheric guitars and rousing beats. (KC)

Emily Magpie – ‘Sunflowers’
Long time favourite, Bristol’s Emily Magpie, has announced that her new album, There Are Other Forms Of Strength, will be released on 19th April. Our first taster of the album comes in the form of glistening new single, ‘Sunflowers’. Flowing with a shimmering energy as Emily’s soulful vocals ripple alongside an uptempo funk-fused allure. (ML)

KIN – ‘Party Anthem’
The new single from London’s KIN, ‘Party Anthem’ offers a poignant reflection on women’s safety. Written back in 2020, inspired by the Reclaim The Streets movement, it oozes a captivating dark allure. Flowing with Grace Strickland De Souza’s crystalline vocals and a swirling instrumentation, a stirring melancholic soundscape is created. (ML)

Get In Her EarsLeave a comment

Interview: Lail Arad (The Songs Of Joni Mitchell)

As someone who has felt inspired and in awe of Joni Mitchell for the last thirty years, counting Ladies Of The Canyon as one of my most played records, I was extremely excited to see that there is going to be a whole event dedicated to her and her incredible songwriting this April. Featuring wonderful musicians such as Emile Sande, Jesca Hoop, Kate Stables (This Is The Kit), Sam Amidon, Vashti Bunyan and Eska, The Songs Of Joni Mitchell will take place at the Roundhouse in Camden on 18th April, and has all been lovingly curated by musician and songwriter, Lail Arad.

We spoke to Lail about her inspirations for putting on the event, what to expect and how Joni’s legacy continues to live on and inspire musicians today. Have a read, and hopefully we’ll see you at the Roundhouse for what promises to be a magical evening!

For those who don’t know Lail Arad, are you able to tell us a bit about yourself and what you do? 
I guess my official day job is a singer-songwriter. I’ve been writing, recording, releasing and performing music for a many years now, and have a new record coming up soon… Meanwhile the touring hiatus started by the pandemic (and extended by having a baby) has led to some tangential music and writing projects… One of which we’re about to discuss! 

You’ve curated a very special event at The Roundhouse dedicated to Joni Mitchell, which is taking place in April. When I saw this was happening, I was incredibly excited as she’s one of my all-time favourites – such a completely inspiring songwriter and vocalist. So, thank you for putting it together! Are you able to tell us a bit about the event and what initially inspired you to do this? 
Perhaps unsurprisingly she is one of my all-time favourites too! Last year I was reading about her comeback appearances and noticed she was 79… I looked up when she’s turning 80 and realised it was the same month I was turning 40. So I thought great, I can celebrate her birthday instead of mine! The idea rolled on very organically from there – snowballed I should say – largely because everyone I talked to was so enthusiastic and wanted to be involved. So I approached the Roundhouse, who were equally excited about it, and from there we worked very closely together – are still working very closely together – to produce the show. It’s going to be the opening night of their annual In The Round festival. For me that’s just perfect because we’ll get the magnificence of the Roundhouse building, but with the intimacy and focus of the festival’s seated, in-the-round set-up. I always envisioned a very stripped-back affair, with Joni’s songs right at the centre; no big house band, just each artist sharing their own magical interpretations.

There’ll be a number of great artists performing, including Emile Sande, Kate Stables (This Is The Kit), Eska and of course yourself. How did you go about selecting who was going to perform – did artists reach out to you, or did you select people you thought would be particularly well suited to Joni’s songs? 
The main criteria really is to invite artists who are self-professed Joni fans and have been influenced by her work in some way. I hope this has led to a line-up which will reflect the many different worlds of music within her own repertoire, as well as the musical diversity she has gone on to inspire. 

And the lovely Cerys Matthews will be hosting the event. How did this come about? 
The thinking was very simple: Should we have a host? Yes, but only if it’s Cerys Matthews! Luckily she liked the idea. She’s a real Joni connoisseur, as well as a most excellent presenter. 

The Roundhouse is a pretty iconic venue, and I would think the perfect space for the songs of Joni to resonate throughout. As an artist and performer yourself, what has your experience been of different venues and their acoustics? Are there any particular qualities you generally look for when selecting places to play? 
There are certainly things I seek out when choosing venues, though I’m not sure I’m enough of an audiophile to consider acoustics first… I enjoy playing alternative spaces – galleries, bookshops, churches. And the Roundhouse is so special because it was originally built as The Great Circular Engine House – to turn around and service steam engines!

Obviously, Joni Mitchell is a huge inspiration to many vocalists and songwriters still today. How would you say she’s influenced the work you do? 
Probably so completely that I’m not even aware of it. I was brought up on her music by my hippie parents, so I’ve never not had her songs in my life. Like many songwriters I write very personal, confessional songs, and I take that freedom for granted – but I’m not sure anyone would be doing that now if Joni hadn’t dared to do it first. Also, many people probably think of her lyrics as largely, well, ‘Blue’… But I find so much humour and wit and playfulness in her writing, which I love and strive for in my own lyrics. She’s equally trailblazing in her musicianship of course – melodies, tunings, singing, piano, guitar, dulcimer, performance, production – and just the way she continued to explore and evolve. Having all that as an example, it’s like a horizon you keep walking towards, knowing you’ll never quite reach, but it urges you to keep moving forwards. 

And, I have to ask – what is your favourite Joni song (or album) and why? (I think my favourite album would have to be Ladies Of The Canyon…) 
I think I’m with you on Ladies Of The Canyon, at least nostalgically. It was the first record I really got to know, for myself. ‘Big Yellow Taxi’ is the first song I ever performed in front of an audience, aged 11! In a little yellow belly top from Gap Kids.

As well as a vast array of her own material, Joni Mitchell is also known for collaborating with a number of other artists, like James Taylor and Charles Mingus. Is there anyone in particular that you’ve always dreamed of collaborating with? 
I’d love to work with David Byrne. Or even just be one of the backing singers in Stop Making Sense, that would be enough for me. 

What do you think young artists today could learn from Joni Mitchell?
Do whatever the hell you want. And make sure it’s very, very good. 

A slightly off-Joni related question – but as we’re an organisation that promotes and supports women and the queer community in music, I just wondered what your thoughts were about the industry today, and how you feel its treatment of women has changed or improved over the time since Joni started out? 
Obviously we’ve come a long way since when Joni was basically the only woman in the room. The Grammys proved that recently! And obviously there’s still a way to go, but I do find it very encouraging how many incredible women I’m working with on this show. In the lineup, needless to say, but also: the head of music at the Roundhouse Lucy Wood, the production manager Anya Tavkar, our publicist Jodie from Stay Golden – that’s a lot of women at the helm.

We’re very much looking forward to the event! Is there anything else you’d like to add?
Ah yes, I’d like to give a mention to the Roundhouse Vocal Ensemble, made up of young people from the Roundhouse Creative Studios. They’re going to be performing on the night – rehearsals are already underway, and it’s sounding super exciting!

Massive thanks to Lail for speaking to us!
The Songs Of Joni Mitchell will be taking place on 18th April at the Roundhouse, as part of the ‘In The Round‘ festival – it’s currently sold out, but you can join the waiting list for tickets here.

mariangelicalaneLeave a comment