GUIDE & PLAYLIST: ArcTanGent Festival 2023

Event: ArcTanGent Festival

Where: Fernhill Farm, Bristol, England

When: Thursday 17th – Sunday 20th August 2023

Ticket Info:
3 day ticket: £190.50

Full ticket info and options (including day tickets & VIP packages) are available on DICE

General Info:
We’ve been keeping tabs on independent alternative festival ArcTanGent for a few years now, and their 2023 line-up looks better than ever! Described by Metal Hammer Magazine as “a haven of progressive music across the spectrum of all things heavy,” the festival aims to showcase an eclectic array of artists and bands across five alternating stages.

Things kick off early on Wednesday 16th August with special guest performances from a diverse range of upcoming alternative artists, but the official line-up starts on Thursday 17th August. There’s also a silent disco on each night from 11pm-3am.

Who’s Playing: Check out the full line-up here

There are so many excellent bands playing at ArcTanGent this year, it’s hard to pick favourites! As you all know, at Get In Her Ears, we focus on female, non-binary and LGBTQ+ talent, so beneath the official line-up poster below, there are some in depth recommendations about bands who we have championed via our website, Soho Radio show or live nights in recent years.

We have no doubt that these artists will put on a phenomenal show too: HEALTH, Devin Townsend, Russian Circles, SWANS, CONVERGE, Spurv, Deafheaven, PETBRICK, A Burial At Sea, Loathe and Birds In Row. You can get to know them all better by listening to our accompanying Spotify Playlist at the end of this feature.

BRUTUS

This heavy trio from Belgium will definitely be a festival highlight. We spoke to Brutus’ drummer and vocalist Stefanie Mannaerts ahead of the release of the band’s third album, Unison Life, back in 2022 and she spoke eloquently about the sheer determination that went into creating their strongest record to date. We also caught Brutus’ live at The Garage in London on their UK tour later that year, and they blew us away with their thunderous, triumphant, self-possessed sound. We overheard someone refer to Stefanie as “Bjork on drums,” which we think is an immense compliment. Read our full interview with her here.

CLT DRP

It feels cliche to say it, but Brighton trio CLT DRP (pronounced ‘clit drip’) are a band that need to be seen live to be fully appreciated. Blending punk vocals with wild, idiosyncratic guitar FX and phenomenal drumming; Annie, Scott and Daphne have an unparalleled energy when performing on stage together. We got caught up in the mosh pit for one of their four(!) sets at The Great Escape Festival in May, and we’ve only just recovered from it. We can’t wait to hear their upcoming album, Nothing Clever, Just Feelings, in full when it’s released in September.

STRAIGHT GIRL

This Leeds-based electronic artist is responsible for the first ever stage invasion at a Get In Her Ears gig! if that’s not incentive enough to turn up early for their DJ set on Wednesday, we don’t know what is? They filled the room with candid, chaotic queer joy and fierce synth-driven noise when they headlined for us at The Shacklewell Arms in East London in July. Checkout out some excellent pics that photographer Cassie Barnard took of them here.

TOKKY HORROR 

We still haven’t seen the formidable TOKKY HORROR play live, but we’re sure their wild blend of punk, rave and dance music will be a sensational experience not to be missed. We spoke to producer Zee earlier this year about the band’s latest EP, KAPPACORE, and the their ethos of making space in music for marginalised folks and making the mosh a safe and inclusive place. Read the full piece here.

ROLO TOMASSI

After almost two decades of playing together, Sheffield-based five-piece Rolo Tomassi have a distinctive sound that keeps their fans coming back for more. We caught them live at Camden’s Electric Ballroom in February, and we were dazzled by Eva Korman’s elastic vocal range, which was made all the more potent by the crystalline, visceral walls of sound her bandmates conjured.

We were also deeply impressed by their support act; genre-defying, Phoenix-based four-piece Holy Fawn. They have a collective intuition for balancing perfectly timed, blissfully noisy drop-ins alongside more shadowy, majestic sounds. This state of emotional flux is something the band captured on their recent album Dimensional Bleed, and it’s one that translates beautifully in a live setting.

NEW TALENT

These artists are completely new to us, but we recommend you check them out too:

GGGOLDDD, Chinese Football, Cultdreams, Svalbard, Bones Of Minerva, Pupil Slicer, LOS SARA FONTAN, Mountain Caller, Other Half, Parachute For Gordo, Heilung, Liturgy, Ashenspire, Lack The Low, Lys Morke, Witchsorrow, The World Is A Beautiful Place & I Am No Longer Afraid To Die, The Callous Daoboys, fakeyourdeath, Naut, Every Hell and Thought Forms.

For more information visit the ArcTanGent official website

Check out our ArcTanGent Playlist below, led by tracks from some of the female & non-binary talent playing the festival this year!

Kate CrudgingtonLeave a comment

PLAYLIST: July 2023

The Get In Her Ears team have put together another eclectic mix of indie & alternative anthems, grungy guitar riffs, alt-pop gems, avant garde sounds and electronic tunes for your listening pleasure. There’s also a small tribute to Irish musician & activist Sinéad O’Connor/Shuhada’ Sadaqat.

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.

 

Maria Uzor – ‘Ventolin’
Having just announced the release of her debut solo album in October, GIHE fave Maria Uzor recently shared this enticing taster. Propelled by a driving fierce energy and glitchy hooks, ‘Ventolin’ swirls with the sparkling allure of her sweeping hypnotic vocals. The PR says it “could well be the first ever electro banger aimed at asthmatics” and, asthmatic or not, I’m sure it’ll have you up and dancing to its majestic groove. We’re super excited about Uzor’s debut solo album, Soft Cuts, which is set for release on 13th October via Castles In Space.
(Mari Lane)

Coolgirl – ‘Silverlight’
GIHE fans will recognise Dublin-based artist Lizzie Fitzpatrick aka Coolgirl as the front person of grunge trio Bitch Falcon, but under her new moniker she uses electronics and synths to create vivid, sometimes ambient, sometimes upbeat sounds. After releasing a handful of singles over the past few years, she is now preparing to share a new EP via VETA Records, with this single ‘Silverlight’ being the first hint of what’s to come. It’s a synth-soaked exploration of the intense, transitory nature of infatuation, and a mesmeric blend of whirring synth textures, glitchy beats and a subtle, jagged vocal.
(Kate Crudgington)

Ghost Car (Dream Wife Remix) – ‘Basta’
Featuring remixes from the likes of Shamir, Du Blonde and The Dead Zoo, Ghost Car’s new remix EP of last year’s debut album, Truly Trash, Truly Trashed, sees the band recruit an array of artists to create unique renditions of their tracks. All funds raised will be donated to Mermaids, a charity doing vital work to support trans, non binary and gender diverse youth. Of this latest rendition of ‘Basta’, Dream Wife’s Alice Gough says: “With this remix, it was about taking a guitar band sound and flipping it over to a dirty, dancey, banger. I rebuilt the drums with deep sub beats, while the original vocals carry the mix through. Also, shoutout to Cher with ‘Believe’ for being the first mainstream POP track that used auto-tune. Her legendry vibe is present in this mix.” Buy and download the EP here. (ML)

Fever Ray – ‘What They Call Us’ (Nifra Remix)
I am so excited for this year’s Field Day festival in Victoria Park in East London, and not only is it down the road from me, the line up is on fire! With the likes of Arca, Art School Girlfriend, Anastasia Kristensen, Bibi Seck, Desire, Effy, Jayda G, Kelela, Sudan Archives…the list goes on and on. To add to the delightfulness of it all, Mary Ann Hobbs has curated the 6 Music Stage with an All Queen Special too. I’m particularly pumped to be seeing Fever Ray. The last time I saw them was in a heightened state of serotonin induced heaven, and they were incredible – not only is their music so boundary pushing, their performances are too.
(Tash Walker)

TSHA ft. Ell Murphy – ‘Bloom’
TUNE TUNE TUNE! I can’t wait to see TSHA live at Field Day. I will lose my mind, I guarantee it. 19th August 2023, see you there! (TW)

Thylacine – ‘Versailles’ (Ah! Kosmos Rework)
I’ve been a fan of Istanbul-via-Berlin artist and producer Ah! Kosmos for a few years now, so I was thrilled to see her rework of this track drop into my inbox. French producer Thylacine invited four musicians to remix songs from his 2022 album, 9 Pieces, a collection of tracks that were influenced by the different places he visited. This ‘Versailles’ rework is the result of his collaboration with Ah! Kosmos and it’s a relaxed, summery tune to soundtrack the season ahead. (KC)

Mary Lovett – ‘Drive’
This track from DIY artist Mary Lovett is a homage to 80s pop and the teen angst she felt throughout those years. I love this track, which is truly transporting. (TW)

Circe – ‘My Boy Aphrodite’
I’m such a big fan of London-based dark pop sensation Circe, so I was thrilled to have her as a guest on our Soho Radio show earlier this month. She spoke so openly and passionately about her new EP, Drawing Wings From The Light, and the inspiration behind this track. ‘My Boy Aphrodite’ is a playful exploration of desire and experimentation with gender boundaries, underscored by her seraphic vocals, dazzling electronics and lyrics that ring out with a deeply relatable sense of longing for love and acceptance. The whole EP is a rapturous collection of slickly produced tracks, on which she willingly shares personal epiphanies, unfiltered heartbreaks, precious teenage secrets and cell-shaping theatrical experiences with her listeners. I can’t wait to see her live again at The Windmill in Brixton on 21st September. (KC)

Lauren Auder – ‘The Ripple’
Lifted from her highly anticipated debut album, the infinite spine, which she shared earlier this month, ‘the ripple’ is a tenacious alt-pop gem that showcases London-based, French-born musician Lauren Auder’s distinctive artistic talent. Auder’s album is a potent, pop-drenched exploration and celebration of discovering your true self, and what it’s like being a trans woman in a world that increasingly tries to deny trans women the right to exist on their own terms. Described as “the monkey’s paw of having your voice heard,” ‘the ripple’ is Auder’s rallying cry “to accept, to be duped / to not grimace at the absolute”, a message that she fully delivers via racing, distorted electronics and cathartic screams that permeate the track’s chorus. I can’t get enough of it. (KC)

Jock – ‘Spoilsport’
I love this driving, potent punk anthem from Belfast-based queer band Jock – new GIHE favourites for sure! Orla from the band explains: “’Spoilsport’ is a punk song written in reaction to the ‘culture of silence’ surrounding sexual assault cases in Belfast” – we’re all about protest songs here at GIHE so we fully support Jock’s message. I’m looking forward to hearing more from them in the near future. (KC)

Slow Pulp – ‘Doubt’
Chicago-based four-piece Slow Pulp have shared this new anthem, lifted from their upcoming debut album, Yard, which is set for release on 29th September via ANTI-. The track is a hazy, relatable guitar tune that questions our need for validation from other people. Vocalist Emily Massey uses the song to explore these feelings, and how it can often feel safer to stay within a familiar negative space than to question and move forward in a new way. (KC)

congratulations – ‘Zeitgeist’
Lifted from their upcoming EP, Woo Hoo, which is set for release on 8th September via Bella Union, this is the latest banger from Brighton DIY band congratulations. I’ve reviewed one of their singles before on GIHE, but they were recommended to me by grunge trio HotWax when I interviewed them at The Lexington a few months ago. (KC)

Cherym – ‘Taking Up Sports’
Having fallen in love with Cherym over the last couple of years, and being lucky enough to see them live at Paper Dress Vintage as well as in Belfast as part of the Women’s Work Showcase last year, I’ve been very much enjoying the Derry band’s latest single. Coinciding nicely with the start of the FIFA Women’s World Cup, ‘Taking Up Sports’ exudes the band’s buoyant punk-pop energy and honey-sweet vocals with a sunny, uplifting energy. Of the track, vocalist & guitarist Hannah explains: “It’s an ode to the self-proclaimed stragglers who used to get their friends to forge notes for them so they could get out of double P.E, but it’s also a little nod to the WLW community and a reminder of the ridiculous lengths we’ll go to sometimes for the person we think is worth it.” Watch the video for ‘Taking Up Sports’ – in which the band take on Derry FC – here. (ML)

SEPARATR – ‘Directionless’
We featured SEPARATR on our radio show back in 2021, and the band have just put out a new EP, QUEEN ACE. This song is a flagship declaration of their contradictions, a song that started out as a piano ballad, but is now very much a pop punk anthem. (TW)

Queen Cult – ‘Blackhole’
Having blown us away with their immersive blistering energy live when playing for us at the Shacklewell Arms last year, Macclesfield band Queen Cult have now shared fierce new single ‘Black Hole’. Described by front person Maisie as “a song to myself… about the post break up slump. When you feel like the world is swallowing you up and there is nothing to hold onto because you’ve lost all sense of self. ” Oozing a roaring, cathartic rage, it’s an empowering anthem of self-love. (ML)

Scrounge – ‘Corner Cutting Boredom’
The GIHE team are excited that total faves Scrounge have a new single out, and it doesn’t disappoint. ‘Corner Cutting Boredom’ may start off with less of the frenzied energy of previous offerings, but it contains all the gritty allure we’ve come to know and love from the South London duo. Building with a stirring tension, it showcases the resonant raw power of Lucy’s vocals, alongside the thrashing yet articulate intensity of Luke’s beat-making. Of the track, they expand that it signals “the start of a new phase of the band – bringing in more texture, more of the industrial and electronic influences that we’ve always loved… but hopefully retaining the intensity and emotion that makes this a cathartic project to be part of.” ‘Corner Cutting Boredom’ is out now via state51 and is accompanied by a handmade zine featuring Scrounge’s friends from the South London scene, including Liv Wynter, Italia 90 and Amanda Tooke. Find out more and buy here. (ML)

English Teacher – ‘Song About Love’
I’m super excited to be heading to Deer Shed Festival this weekend and, amongst a fantastic looking line-up – including The Big Moon, The Delgados, This Is The Kit, Grove and Panic Shack – I think Leeds band English Teacher are one of the bands I’m most looking forward to seeing. ‘Song About Love’ is a total earworm, a wonderfully infectious ode to “doing the chores, instead of doing someone else.” I’m also pretty obsessed with earlier tracks like ‘R&B’ and ‘Mental Maths’. Have a read of our interview with Deer Shed’s festival director Kate Webster here. (ML)

Bleach Lab – ‘Smile For Me’
Bleach Lab’s single ‘Smile For Me’ is a shimmering, melancholic indie-pop tune inspired by the frustrations and fears around sexual harassment. Taken from the band’s upcoming debut album, Lost In A Rush of Emptiness, which is set for release on 22nd September via Nettwerk, vocalist Jenna explains the context of the single further: “Lyrically, This was one of the most empowering but challenging songs to write on the album. The theme for ‘Smile For Me’ is of my own experience of sexual harassment, as well as experiences I know far too many women suffer themselves. Something I hear so often as a woman in public is being told to ‘cheer up, love’, if I’m not immediately, positively responsive to an unknown person’s advances. It’s completely deflating, infuriating and humiliating. The lyrics are intentionally directed at the culprits and offenders, words I would be too afraid to say in the moment if not for fear of the reaction.” (KC)

Mumble Tide – ‘Kindest’
The accompanying video to this Mumble Tide track is Cute with a capital ‘C’! The Bristol-based duo say this song is about “those shady thoughts you try to lock up inside yourself, about feeling weird and scared and guilty,” and I think vocalist Gina Leonard’s clear, distinctive voice floating over Ryan Rogers’ gentle guitar twangs communicates that beautifully. (KC)

Joanna Sternberg – ‘I’ve Got Me’
I don’t think it’s an exaggeration to say that I have been completely addicted to the new album from New York artist Joanna Sternberg recently. Playing every single instrument you hear on the album, the collection showcases their ability to create rich tapestries of lilting folk-strewn sounds alongside stirring reflective lyrics, all brought together with their raw, impassioned vocals. It really is just exquisite. I’ve Got Me, is out now via Fat Possum. You can read an interview we did with Joanna on our website too. (ML)

shaene – ‘sad’
Taken from her self-produced debut album, time lost / time regained, which is set for release on 1st September, I love this bittersweet offering from Leeds-based songwriter shaene. It’s a dreamy, melancholic rumination on a dark and complicated time. shaene’s upcoming full length record is inspired by her own experiences as a trans woman, her neurodivergency and the depth of emotions that surround these aspects of her life. ‘sad’ touches on these themes and gives listeners a poignant first hint at what’s to come. (KC)

1000 Beasts ft. Zeenie Summers Sà.Rù.Mí – ‘Sun Valley Drive’
Another strong serving from 1000 Beasts, this time a bilingual track that combines both English and Yoruba featuring the vocals of Zeenie Summers SaRuMi an Irish/Norwegian artist. It’s full of sunshine – you can’t help but smile and sway to it! (TW)

Girl Ray – ‘Love Is Enough’
I just can’t get enough of the fizzing, disco-inspired energy and danceable allure of Girl Ray’s latest offerings, and I’m very excited not only for the release of their album, Prestige, on 4th August via Moshi Moshi, but to see them again live that evening at Rough Trade East! I was lucky enough to chat to Poppy, Sophie and Iris about the album, playing Ally Pally, being women in the industry and more. Have a read and pre-order their album here. (ML)

Supersaurus – ‘Electric Dreams’
Self described “non-binary fronted indie-pop girl band”, London-based Supersaurus’ influences range from MUNA to The 1975, and with acclaim from the likes of BBC Radio 1 and BBC Introducing, they’re really starting to hone their place as esteemed creators of sad-pop bangers. Reflecting on personal experiences and being part of the LGBTQ+ community, ‘Electric Dreams’ is an instantly catchy, sparkling slice of emo-tinged indie-pop, and I can’t wait to hear more of the glitchy, whirring energy of this band. (ML)

Phosphene – ‘Black Sheep’
This hazy, ethereal single from DIY Portland-based shoegazers Phosphene dropped into my inbox at the start of the month. It’s taken from their upcoming third album, Transmute, which is set for release later this year. ‘Black Sheep’ is also accompanied by a monochrome video which the band produced, edited and directed themselves. Watch it here. (KC)

1017 ALYX 9SM, Ethel Cain – ‘Famous Last Words’ (An Ode to Eaters)
One of my favourite artists Ethel Cain has written a song that’s inspired by the gorgeous film Bones And All, and unsurprisingly, I absolutely love it. A match made in heaven and peak Gloomy Girl territory for me. (KC)

And is Phi – ‘Double Pink’
And is Phi is a multidisciplinary artist from Norway and the Phillipines who now lives in South East London. ‘Double Pink’ is the title track from their debut album, which is set for release via Albert’s Favourites on 22nd September, and I cannot wait to hear it in full. (TW)

Hinako Omori – ‘foundation’
Hinako Omori was a live highlight for me at Brighton’s Great Escape Festival earlier this year, so I was thrilled to hear that she will be releasing new music soon. This track ‘foundation’ is a wonderful blend of her gentle vocals and atmospheric electronic sounds, that she describes as “a letter to ourselves on trusting our intuition and inner guidance to lead us along our unique paths.” Hinako will be sharing a more music later this year via Houndstooth and she’ll be playing live again at London’s ICA on December 2nd. (KC)

Tawiah – ‘Child’
I only came across innovative artist Tawiah a few weeks back when I saw them play Higher Ground Festival at The Roundhouse, alongside The Staves, The Orielles and Aoife Nessa Frances. Accompanied by six choral singers to deliver an immensely moving performance of last year’s Ertha – a concept album, chronicling our journey from birth to death – she delivered an utterly unique blend of alt-soul, gospel and R&B, emanating a sweeping majesty and deep spiritual resonance throughout, captivating the audience with a celestial splendour. (ML)

Oxbow ft. Lingua Ignota – ‘Lovely Murk’
I’m a big fan of Kristin Hayter aka Lingua Ignota, but I’m new to experimental band Oxbow, so listening to ‘Lovely Murk’ was a pleasant surprise. Created over a period of several years and inspired by Niko Wenner’s experience of losing his Mother to Alzheimer’s, it’s an emotive, eclectic composition heightened by Lingua Ignota’s powerful, choir-like vocal. This track is featured on Oxbow’s latest album, Love’s Holiday, which is out now. (KC)

Sinéad O’Connor – ‘Troy’
Tributes to Irish musician Sinéad O’Connor have been permeating our social media feeds over the past few days. What a talent, and what an unapologetically authentic artist. Lots of our followers have recommended watching Kathryn Ferguson’s 2020 documentary about her, Nothing Compares, which offers deeper insight into her activism, her spirituality, and her experiences of fame and fallout with the pop mainstream. Rest In Peace Sinéad. (GIHE team)

 

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INTERVIEW: Girl Ray

Having been a huge fan of London trio Girl Ray since first falling in love with 2016’s single ‘Trouble’, and going on to relish in the quirky, uplifting indie-pop goodness of albums Earl Grey (2017) and Girl (2019), I am super excited that they’ll be releasing their third album Prestige next month.

A band close to my heart (it was after their set at Indietracks festival 2018 that I proposed to my partner – they’re a big fave of ours!) and one who continue to develop and hone their distinctive sparkling sounds with each new release, this latest offering of theirs draws on the danceable allure of disco, complete with funk-fuelled hooks and the band’s distinctive shimmering blissful energy. Emanating bucketfuls of colourful, queer joy, it’s the perfect soundtrack to the summer: a gently empowering swirling blast of euphoria that is needed now more than ever.

I was lucky enough to catch up with Poppy, Iris and Sophie for a chat about the new album, being women in the industry, their festival essentials (no pots and pans!) and more… Have a read and make sure you pre-order Prestige now!

 

Meeting via Zoom on a rainy Monday evening, Girl Ray manage to find some time out of their busy schedule to have a quick chat. Having been quite quiet over the last few months, they are currently in the midst of a busy few weeks, leading up to the album release on 4th August. This weekend just gone’s been particularly busy, with the band supporting Ben Howard at Alexandra Palace park on Saturday. “It was good, but extremely wet!”, Poppy recalls when I ask how it went. But, in spite of the rain, it was a quite a special venue for the band to play, being North London locals who’ve attended lots of gigs there themselves – “it’s kind of a bucket-list thing to do”, Poppy shares. So, despite the awful weather and tiredness (“we were running on about 3 hours sleep because we had our club night the night before”), it all went well – good views of the palace while playing, and a nice discovery that Ben Howard is a fan of the band. 

The club night that Poppy mentions was the special Prestige club night, hosted by the band at The George Tavern on Friday to celebrate the upcoming album release. “It was hard staying up that late”, Iris admits, “… but it was really fun! Loads of people can down for it, and my parents DJ-ed. They loved it!”. Having DJ-ed throughout the ‘80s and the early ‘90s it seems Iris’ parents are pros at spinning tunes – “much better than us!”, Poppy adds. Although the band have DJ-ed before, this was the first time they had put on an event of this kind, and they have promised to do it again – “It was quite amazing really! Iris mainly did all the organising, and just the simplicity of putting on an event is quite amazing. It’s not as difficult as one might think. Just a really fun thing to do, everyone should be doing it!” 

Moving on to discuss the reason for the celebrations, I ask about the inspirations behind the album, and how the queer ballroom scene of the ‘80s played a part: “I was watching Pose while writing it”, Poppy explains, “… and the soundtrack, and the aesthetic, aside from it being a great TV show, just drew my attention more to that scene, and let me delve more into the roots of disco. And I found that super inspirational as a writing tool, so tried my hand writing a few more disco-inspired songs.” After the three of them decided that it would be a good direction for the record, and writing some more tracks in that vein, the name Prestige came about – “it’s always been a kind of joke within our friendship group; like when we were teenagers, instead of saying ‘Oh, that’s cool’, it would be ‘Oh, that’s prestige’… It’s kind of a special word to our friendship!” And then, Poppy’s mum gave it the final push, when told about the name, “she said ‘that sounds like one of the naff clubs I would go to in the ‘80s’, so that sold it! That became the album cover, and then that kind of informed the aesthetic of the album campaign.” The band were able to use this aesthetic not only for the album visuals, but were able to draw on the whole disco and ballroom themes as inspiration for their songwriting, as well as their musicality – “Our playing styles naturally went a bit disco-y”, Iris reflects, “our style definitely lent itself to the genre.” 

Once they had written the album, they naturally needed to find someone to help produce it. Poppy had been working alongside Ben H. Allen (M.I.A, Christina Aguilera) for a writing session for one of the songs on the album, and got on really well with him, so – despite not being fully aware of his accolades – decided to ask him to be involved, and he was up for it, and very down to earth and easy to work with. As Poppy explains: “…he’s a really friendly guy, and he made us feel really welcome. And I think that just speaks to his experience and expertise as a producer. He put us all at ease and we felt really comfortable.” As Sophie so eloquently puts it, “he’s the definition of Prestige”. 

Being Girl Ray’s third album, Prestige uses what the trio have learnt over the years to create something honed and polished – showcasing a band with experience and innovation. Sophie reflects: “It kind of tied together how we recorded the first and second albums in a lot of ways. Because the first record was very much live, and playing together in a room, and the second one swung completely the other way, recording everything separately. And this one is a mix of the two.” Discussing the recording process, Iris explains, “Poppy wrote the songs and they were pretty fully formed. And we then had to structure our time recording quite well because we didn’t have loads of time.” Despite the time constraints, however, they still felt able to experiment and develop their sound – Poppy adds, “We’ve been a band almost 10 years now, and so we definitely know more and how to achieve it. Looking at all the albums side by side, with this one I think we have found our footing a bit more in terms of our sound and what works for us.” 

As well as creating uplifting, musically rich songs, one of the things I love most about Girl Ray is their ability to channel their personalities into their videos. In the run up to this album in particular, they’ve created some fantastic visual accompaniments to the singles; I ask them about the process of doing this, and mention that my current fave would have to be ‘Everybody’s Saying That’ (a Studio 54-inspired visual, showcasing all the roller skatingy queer joy you could ever desire). Reflecting on the process, Iris explains: “We kind of either have a concept or work together with a director. The director for ‘Everybody’s Saying That’ – Alice Harding – is someone we’ve worked with (barista-ed with!) in the past, and she was just getting into directing, and we had this idea that we wanted the club of Prestige to be in the video…” Although the band initially approached Harding because she was a roller skater, on discovering she was also getting into directing, they recruited her immediately, and she then came up with the plot and concept. Discussing their love of video making, the band reflect on how being such good friends with a similar sense of humour always helps, and, Poppy adds, “we don’t want to take ourselves too seriously, and videos are a fun way to express that.” As well as working with Alice Harding, Girl Ray have predominantly working with long-time friend and director Alex Cantouris in making their videos – “He’s really great and gets us. He’s been working with us since we were 17, so he knows exactly what we want. And it’s always a really fun process!” 

Now that the album’s ready to be unleashed into the world, the band are focusing on some live dates to promote it, including some in-store shows over the next couple of weeks, ahead of their full European tour in the winter. With this in mind, I ask if there’s been a particular gig that Girl Ray have played over the years that stands out as a particular highlight – “Anytime we play a hometown show – anytime we play London – it’s really important to us”, Poppy says, specifying dates at Scala and Electric Ballroom as stand outs. “Scala was especially vibey”, Iris adds, “because we’d just released Earl Grey and got loads of people up with us for the title track which was really fun. It just felt like a very exciting time for us.” Whereas, with support slots or festival sets, it’s easy for a band to doubt themselves and feel like the audience aren’t really there for them, these headline gigs seem particularly special – “When it’s a headline show in the town you grew up in, with people coming down and knowing all the words to your songs, it’s just really touching.”

But, with highlights come lowlights, the band remind me, singling out their first ever proper gig at The Cavendish Arms in Stockwell as one they’ll always remember… Still in school, and having handed out flyers in their common room the day before, they were still really learning to play their instruments, and hadn’t impressed their singing teacher who had previously criticised their singing style as being “too airy” (I’m sure she’s kicking herself now!). 

Festivals can also sometimes bring lowlights, with the mud / expensive food and drink / tent setting up that’s involved, but Girl Ray are looking forward to playing Green Man next month, and it sounds like they’ll be very well prepared: “I normally end up taking my whole house and then some! But I’m trying to minimise now…” Reminded by Iris that there is food at festivals, Poppy agrees not to bring her stove this time, as Sophie remembers, “We normally take one of those IKEA bags full of cans of things, and pots and pans…” So, no stove or pots and pans this year, but then what are Girl Ray’s top tips for festival goers I hear you ask… Iris and Poppy sensibly conclude that wet wipes, a battery pack and ear plugs (for the snorers in the tent next to you) are must haves, whilst Sophie sums up the festival experience in one sentence – “It’s not really a festival until you have the warmest beer of your whole entire life.”  

With Poppy and Sophie initially meeting at a ‘rock school’ as teens (“nothing like the Brit School, more like an after school club”), and after nearly 10 years together as a band, I ask how they feel the industry is for new bands and artists now, and how it compares now to when they first started out. “It can be hard”, Poppy reflects, “It’s like a job, being in a band! One that we all really enjoy, but a job for sure.” Iris agrees, “Yeah, when you’re a new artist it’s all really exciting and then you get to a point where you realise the amount of effort it takes to put into a band.” One of the main efforts these days, it seems, is the need for bands to promote themselves on social media – “We’ve started to see some phases come and go”, Poppy reflects, “Like when we started, Facebook was the place where you’d be shouting about gigs and stuff, and then it was Instagram, and now if you’re not on Tik Tok then you’re doomed!” In addition to the pressure to push your unique aesthetic and create a social media presence, new bands now seem to have to make more of an effort to stand out in an increasingly saturated industry, “On the one hand it’s amazing that everybody is able to release music into the internet”, Poppy explains, “but it means some people are getting overlooked… It’s hard, it’s hard to ‘make it’, especially in this cost of living crisis where everything’s so expensive. To be in a band is hard.” 

Being women in the industry, I wonder whether Girl Ray have faced any challenges in relation to this, and if it has affected the way that they’ve been treated as a band. “I think there are some obvious times where it would be easier to be a guy, or to be straight guys”, Poppy begins, “But saying that, at the end of the day, we just make music and put music out, so it’s hard to say whether the reception would be different if we’d been guys… But we’re lucky to live in a society that’s pretty liberal. As a queer woman, I get by ok, living in London. But obviously there’s work to be done elsewhere. But we’re lucky it’s not really something we have to think about. I mean, the only time I’m thinking about it really is when writing – like I’m keen to use female pronouns in romantic songs, just because there wasn’t so much of that when I was growing up, so it’s cool to try that.” It’s really great that Girl Ray feel confident and able to do this, and to create such life-affirmingly relatable and enjoyable songs, but there are still times – particularly when playing live – that the ol’ patriarchal society makes itself known. “I guess the main time we’re confronted with it is with sound engineers”, Iris points out. “… They often don’t treat women in the same way as they treat men, and that can be a little bit disheartening! So, they still have some work to do…” Poppy adds, “It’s normally just micro aggressions – just mansplaining basically! It doesn’t happen all the time, but often times when we’re setting up it can be annoying.” Reflecting on a particular instance recently where a sound engineer started tracking Iris’ drums while she was setting up, Poppy scathes, “Imagine if someone just came up and started tuning my guitar! This is my job – fuck off. And some weird comments you get – like asking me to sing into the microphone, like “oh, sorry, I didn’t know what that was for!” They can overstep the mark a lot, sometimes… They can think that they’re helping, but are kind of really not.” As a band who’ve been going for nearly a decade, about to release their third album, and with worldwide success, still being treated this way by men when simply trying to do their job must be extremely frustrating, as can be the general attitude of some people towards ‘women in bands’, as Sophie notes: “It’s not even industry specific, but sometimes when I tell other people I’m in a band there’s a lot of assumptions about what that is – like, ‘let me guess, you’re the bassist!’ And ‘Oh that’s so cute that you’re in a band’… There’s this assumption that all women in bands must play bass, but I’m like ‘I’m actually playing with other women’… All those kinds of things. We’re generally taken a lot less seriously. I mean, it’s not bad because yeah we have fun, and yeah we’re cute! But it is a little bit patronising…” 

I can confirm that Girl Ray are indeed incredibly cute, and they certainly seem to have a lot of fun. It’s partly because of this colourful wit and joyous energy that I’ve been a fan for so long. But any mansplainy sound engineers, or anyone who doubts their full potential, or fails to take them seriously, can do one. They are a “serious band” (though they all giggle when Iris says this); one who not only bring joy and fun to all they do, but who have developed and honed their craft for nearly a decade, creating a truly unique sound that is distinctly theirs. Whilst Prestige signals a move forwards for Girl Ray, a collection by a band who’ve truly “found their footing”, it also maintains all there is to love about the London trio – a shimmering charisma, relentless optimism and (now disco-ified) sparkling danceable allure. A much-needed euphoric antidote to all that’s going in the world today.

HUGE thanks to Girl Ray for taking the time to speak me!

Prestige is out on 4th August via Moshi Moshi. Pre-order and find out about all their upcoming live dates here.

Also, check out Kuntessa – an awesome new artist recommended by Girl Ray, who Poppy’s worked with producing some of their tracks, and who will be supporting them on some of these dates!

 

Photo Credit: Eerie Rose

 

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Get In Her Ears Live @ Shacklewell Arms w/ Straight Girl, 07.07.2023

This month, we were back at The Shacklewell Arms for another night of immense live music! Huge thanks to our headliner Straight Girl, as well as ALT BLK ERA and The Dead Zoo for being amazing! Thanks too to total legend Sofia on sound, and to everyone who came down to support the bands, dance the night away in queer joy, and helped us to raise £50 for London Trans Pride!

The Dead Zoo kick things off with their gritty, immersive allure…

Next up, utterly immense sister duo ALT BLK ERA blew us away with their fiercely unique raging power…

Finally, it was an honour to have Leeds-based artist Straight Girl headline the night for us. With their immense swirling energy and magnetic tongue-in-cheek charisma, they spread all the fizzing queer joy we could ever desire. Immersing themselves within the crowd (quite literally at times!) an exuberant euphoria filled the room, and we were struck by what a truly unique, and massively fun experience Straight Girl was able to create.


Massive thanks to all the incredible artists who played for us – it truly was a dream of a night, filled with so much energising queer joy!

We’re taking a break from hosting gigs in August, but we will return to The Shacklewell Arms on 8th September with a super exciting line-up. Welsh headliners Chroma (who have been announced as supporting Foo Fighters next year!) alongside Leeds grunge-poppers Wormboys and new Brighton band UrgentSea. Nab yourtickets here!

Photo Credit: Cassie Barnard / @cassiebphotography

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