Track Of The Day: Pixie Cut Rhythm Orchestra – ‘I Didn’t Love You When I Said I Did and I Don’t Now’

Equal parts charming and cutting, Dublin-based trio Pixie Cut Rhythm Orchestra‘s latest single ‘I Didn’t Love You When I Said I Did and I Don’t Now’ is a swirling lament to the moment when you realise a relationship is ultimately beyond saving. Released via Anon Records and recommended to us by fellow Irish musician Fears, the band blend shimmering guitars, urgent vocals and poignant lyricism to reflect the frustrations and uncertainties that come with this unwanted epiphany.

Formed of Sarah Deegan (songwriter/guitarist), Alice Grollero (bassist) and Danni Nolan (drummer), Pixie Cut Rhythm Orchestra met via Dublin’s underground & DIY music scenes and began writing music together inspired by the sounds of Mitski, Courtney Barnett and Angel Olsen. The band deliver their observations on life with a raw sincerity, with Deegan’s distinctive voice leading the charge on ‘I Didn’t Love You When I Said I Did and I Don’t Now’.

The track is accompanied by a video, shot and edited by artist Hollie Gilson, reflecting the irritation, resentment and reluctance that follows the point of no return after a breakup. To take the edge off, they’ve also shared some fun ‘Behind The Scenes’ footage that you can watch here too.

Watch the video for ‘I Didn’t Love You When I Said I Did and I Don’t Now’ below.

Follow Pixie Cut Rhythm Orchestra on bandcamp, Spotify, Twitter, Instagram & Facebook

Kate Crudgington
@kcbobcut

STILL SPINNING: Gazelle Twin – ‘The Entire City’

Our Still Spinning feature focuses on records that we consider to be iconic – whether that’s for popular, or personal reasons – and celebrates our enduring love for them. Get In Her Ears Co-Founder & Features Editor Kate Crudgington talks us through why electronic artist Gazelle Twin’s debut album, The Entire City, released in July 2011, is still one of her most influential listens to date.

Named after a painting by German surrealist artist Max Ernst, Gazelle Twin’s debut album The Entire City was released via her own imprint Anti-Ghost Moon Ray on 11th July 2011. Independently composed, recorded and produced, her ambiguous lyrics and altruistic sounds invited her listeners into a world that offered both shimmering intrigue and heavy shadow in equal measure.

It was my older brother Joe who originally introduced me to Gazelle Twin aka Elizabeth Bernholz in 2014, citing her second album Unflesh as one of the best things he’d ever heard. I used to lay in the dark, headphones on, listening to it and feeling an odd sense of calm, as waves of nervous energy rippled through me. That record changed my idea of what electronic music could sound like and I was captivated by the persona printed on the album’s cover. Blue hoodie, long brown hair, a partially covered face and an open mouth revealing a snarling pair of teeth. Menacing yet enticing, terrifying yet familiar. Gazelle Twin was an enigma – communicating with listeners through harrowing imagery and nerve-shredding synths.

Back then, I had no idea she had released her debut album three years earlier, or that it would sound so different. Having encountered Unflesh first, listening to The Entire City felt like an ambient fairy-tale in comparison. But, as with all of her obscure creations, what Gazelle Twin excels at is contrasting the darkness with the light, so even if that darkness sometimes feels all consuming – like it often does on Unflesh and on her stunning third record Pastoral – the sublime still manages to shine through too. The Entire City is a sonic landscape littered with dense concrete, intimidating obelisks and unknown relics, but it’s also teeming with life.

Filled with twitchy drum samples, cinematic synths and her uniquely operatic vocals, The Entire City received flattering comparisons to Fever Ray when it was originally released, but I think Bernholz’s sound is often grittier and more detached. There’s an underlying feeling of voyeurism as you wander through her musical landscapes, something I feel she captures perfectly on the eponymous opening track, with her extended high pitch vocals guiding the way, like a thrilling race through deserted streets. It bleeds into the breathy stillness of ‘Concrete Mother’ and the hypnotic ‘Men Like Gods’, two of my favourite tracks on the record.

It feels odd to pick apart and review The Entire City on a track-by-track basis, because it has such a cohesive sound. Each time I listen I feel like I’m being shrouded in Bernholz’s graceful, unsettling sonic paraphernalia; her cryptic lyrics and eerie electronics lulling me into a false sense of security. The subtle power of her voice on ‘I Am Shell I Am Bone’ and ‘Changelings’ is intoxicating, whilst on ‘Obelisk’ – another favourite of mine – her blend of dense beats and crystalline synths evolves into an exquisite electronic hymn. Punctuated by briefer tracks like ‘Far From Home’, ‘Bell Tower’ and ‘Fight-or-Flight’ – on which she flexes her operatic voice sensationally – she ensnares the senses and gently pushes listeners into unchartered territories across the album. In retrospect, ‘View Of A Mountain’ feels like a hint at what was to come, it’s the kind of instrumental that would sit comfortably on Unflesh.

Steeped in shadow and mystery, The Entire City is a fascinating introduction to a truly progressive artist who has evolved into a new species of performer since 2011. Not known for revisiting her previous albums or personas, Gazelle Twin’s sights remain fixed on her future projects and I can’t wait to immerse myself in more of her visceral sounds.

 

Follow Gazelle Twin on bandcampSpotifyInstagramTwitter & Facebook

Album Artwork: Suzanne Moxhay

Kate Crudgington
@KCBobCut

WATCH: Softcult – ‘Spit It Out’

A lush, swirling guitar tune that gently encourages listeners to face their unconscious bias, Canadian duo Softcult have shared their latest single ‘Spit It Out’. Since the release of their debut EP Year Of The Rat earlier this year, the pair have been busy working on new material, with this new offering building on their existing manifesto to resist and relieve the pressures that come with existing in a patriarchal world.

Formed of Ontario-based twins Phoenix and Mercedes Arn Horn, Softcult cut their teeth playing live shows in their local town of Kitchener, before moving on to bigger audiences on the North American tour circuit. Their experiences of playing and working within a male-dominated industry formed the foundation for their current sound, which is born from the desire to reject toxic standards of femininity and embrace a more equal world.

‘Spit It Out’ embodies this outlook, as the band explain in more detail: “The song is about rejecting harmful ideologies that we’ve come to accept as normal, even though they perpetuate our own oppression. Most people understand that misogyny, sexism, racism, etc are wrong, but don’t often notice when it occurs in our every day lives, in the media, or how we’ve been conditioned to perceive the world. We can even unknowingly become part of the problem because we’ve internalized these ways of thinking. We wrote the song about resisting societal standards which only serve to benefit those that hold power over others. By simply refusing to accept these ideologies, we can weaken the pillars in our society that allow oppression and injustice. It all starts with questioning them in the first place, and then deciding that we aren’t going to continue to contribute to them.”

Watch the video for ‘Spit It Out’ below.

Follow Softcult on SpotifyInstagramFacebook & Twitter for more updates

Photo credit: Judith Priest

Kate Crudgington
@KCBobCut

Track Of The Day: Pretty Happy – ‘Sudocrem’

A frantic, witty, cathartic burst of art punk noise, Cork trio Pretty Happy have shared their latest single ‘Sudocrem’. Taken from their recent EP Sluggers Bridge, released via Art For Blind Records, the track ricochets between manic vocals, spoken word verses and whirlwind guitar cacophonies to reflect the irritation of the characters the song is based around.

Formed of Abbey Blake (guitar), Arann Blake (vocals, bass) and Andy Killian (drums), Pretty Happy have been busy cutting their teeth on the DIY Irish music and arts scene over the last few years. Abbey is a founder of Angry Mom Collective, a movement set up to challenge the gender imbalance in Irish arts, whilst Arann and Andy are keenly involved in the local drama and film scenes. Together, the trio combine their talents to create their distinctive sounds and ‘Sudocrem’ is another of their riotous, tongue-in-cheek offerings.

Centered around the Cork-centric story of a girl who is suffering from alcohol poisoning in the Mercy Hospital whilst her partner sits across the road in the Franciscan Well pub, ‘Sudocrem’ kicks and screams with the kind of frustration, panic and anxiety that can’t be soothed by the childhood medicinal staple it’s named after. Speaking about their new EP which the track is lifted from, the band explain: “With Sluggers Bridge we have attempted to capture our live theatre-influenced, art-punk sound. We wanted to make this EP as interdisciplinary as possible, taking as much inspiration from the Irish stage as we do the Irish music scene. This EP is uniquely Cork, influenced greatly by the people and humour of the city.”

Listen to ‘Sudocrem’ below.

Follow Pretty Happy on bandcampSpotifyInstagramTwitter & Facebook

Photo Credit: Nicholas O’Donnell

Kate Crudgington
@KCBobCut