WATCH: Let’s Eat Grandma – ‘Hot Pink’

“‘Hot Pink’ is about the misconceptions of femininity and masculinity and the power of embracing both of them,”explain Let’s Eat Grandma about their colourful new track. “It’s about self-expression, as well as appreciation for an underrated colour.”

Together, teenage multi-instrumentalists Rosa Walton and Jenny Hollingworth create exhilarating blasts of fervently obnoxious noise to turn gender politics upside down, and their new video for ‘Hot Pink’ sees them tearing through the city doing just that. Released through Transgressive Records last week, the track’s accompanying video was directed by Balan Evans. Commenting on the footage, Let’s Eat Grandma explain: “We’re trying to navigate through a city where people’s perceptions of reality are becoming more and more distorted in the fear that we’ll end up the same way.”

After the cult success of their debut album, I, Gemini, it’s great to see the duo are back with this attention-grabbing new single. Following a headline show at Lightbox in Vauxhall on March 8th (which is now sold out), Let’s Eat Grandma will perform a run of UK and European headline tour dates throughout April.

Watch the video for ‘Hot Pink’ below and follow the band on Facebook for more updates.

Let’s Eat Grandma Live Dates

Thu 08 Mar 2018 UK, London – Lightbox (SOLD OUT)
Wed 04 Apr 2018 UK, Glasgow – Stereo
Thu 05 Apr 2018 UK, Newcastle – The Riverside
Sat 07 Apr 2018 UK, Leeds – Belgrave
Sun 08 Apr 2018 UK, Sheffield – The Plug
Mon 09 Apr 2018 UK, Manchester – The Deaf Institute
Wed 11 Apr 2018 UK, Birmingham – The Castle and Falcon
Thu 12 Apr 2018 UK, Cardiff – The Globe
Fri 13 Apr 2018 UK, Bristol – The Lantern

Kate Crudgington
@KCBobCut

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ALBUM: Belako – ‘Render Me Numb, Trivial Violence’

A “head twisting mix” of punk, techno, indie, & electro, Spanish band Belako have shared their third album Render Me Numb, Trivial Violence via Primavera Sound’s label El Segell. The group were already well versed in fusing different genres and their talent for doing so has thrived on this record.

Upbeat cacophony ‘Maskenfreiheit’ kicks things off in trademark Belako style, with a manic mix of electronics, guitar riffs and lush vocals. There’s no time to catch your breath as ‘Lungs’ immediately follows, still bursting with the same organised musical chaos.

‘Two Faced Simulation’ impresses with its gritty bass lines, restless guitar riffs and heavier vocal delivery, whilst following track ‘Over The Edge’ keeps up the momentum with sharp, persistent percussion and more driving bass lines. ‘Nice Church’ is a joyful tune, combining both buoyant and dense synths with watery-fx vocals and more powerful percussion. Even when they sing of losing emotional focus on ‘Stumble’, Belako keep everything together musically. ‘Stumble II’ is equally as well constructed, with gentle keys tripping over more lush vocals.

The stripped back, hazy ‘Strangers In A Box’ follows, before brief instrumental ‘Render Arp’ leads in to title track ‘Render Me Numb’, which is permeated by forceful beats. The uplifting party-style synths on ‘The Fiend Thinker’ will get listeners feet moving, whilst the happily named ‘Something To Adore (Arinau)’ rolls out in the same passionate vein.

Penultimate track ‘Hegodun Baleak II’ meanders musically for five minutes, before the brief ‘Maskenfreiheit II’ bookends this fusion of manic indie and alternative sounds. With Render Me Numb, Trivial Violence, Belako have shown their skill for creating carnivalesque, yet ornate and considered music.

Render Me Numb, Trivial Violence is available now. Follow Belako on Facebook for more updates.

Kate Crudgington
@KCBobCut

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ALBUM: Lowtide – ‘Southern Mind’

Going South isn’t always such a bad thing, especially when it’s the focus of Australian band Lowtide‘s beautiful new album, Southern Mind. Released via Opposite Number/Rice Is Nice earlier this month, the record is a “uniquely Australian take” on the landscapes and politics of the South, but it transcends these contexts via ambient guitars and shimmering vocals.

As bassist and vocalist Lucy Buckeridge explains, “South can be a positive thing, a change” and listeners will be nodding in agreement as the eponymous reverb-saturated ‘Southern Mind’ opens the record. It’s six minutes of dizzy guitar and dreamy vocals that sound like they’re curated by a distant relative of The Cure’s Robert Smith. The same can be said for following track ‘Alibi’.

Giles Fielke’s & Lucy’s dual vocals on ‘Elizabeth Tower’ align to create a nostalgic, hazy soundscape, while ‘A.C.’ rings out in the same cool, atmospheric style, urging listeners to “celebrate yourself.” ‘Olinda’ is an elegant two minutes of melodic, sweeping guitar effects that seamlessly flow in to ‘On The Fence’, another alternative Lowtide lullaby designed to distract listeners and dissolve their negative thoughts. ‘The Fear’ does the same, it’s an aural wish for a life with “No more pain and no more mistakes.”

Penultimate track ‘Window’ is a six minute long breath of fresh air, before ‘Fault Lines’ closes this collection of enveloping, drifting sounds. Lowtide might be going South on their latest release, but it’s a joy to step inside their Southern Mind and lose ourselves in all they have to offer.

Southern Mind is available to download here. Follow Lowtide on Facebook for more updates.

Kate Crudgington
@KCBobCut

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ALBUM: Divide & Dissolve – ‘Abomination’

A sonic force to be reckoned with, Melbourne-based duo Divide & Dissolve‘s second album Abomination, released via Dero Arcade is a collection of heavy-instrumentals designed to “decolonize, dismantle white supremacy and empower people of colour & Indigenous people.”

Together, Takiaya Reed (saxophone, guitar, live effects) and Sylvie Nehill (drums, live effects) seek to undermine the forces that oppress them. The duo have been receiving praise and support since the release of their debut Basic in March 2017, which earned them the accolade of ‘Best Heavy Album’ at The Age Music Victoria Awards. This year they’ve been granted a support slot with Poliça on their forthcoming US tour, and after listening to Abomination, it’s easy to see why Divide & Dissolve are currently in demand.

Opening the album is the eponymous ‘Abomination’. It’s five minutes and fifty seconds of unnerving riffs and ceaseless cymbals, crashing together to form a desolate but powerful soundscape. It paves the way for eerie second track ‘Assimilation’, poised between chaos and calm from the moment it starts. There’s an intense power in the lack of lyrical content on these songs, which feels reflective of the repressed minorities the pair seek to support with their music. ‘Cultural Extermination’ is another shining example of this.

The spoken word from Minori Sanchiz-Fung on ‘Reversal’ is incredibly poignant. “By using English, I have let out many violent spirits. Words that I trust would in English, fling themselves against the wall,” speaks Minori from her “Immigrant Mind” in a composed, but visceral manner. Subtle, reverb-heavy guitar scores her incredible poetry, making this collaboration an intriguing and important listen. ‘Resistance’ follows with its manic sax sounds that ring out like defiant sirens in the face of adversity, resisting all notions of conformity.

The brief but bold ‘Re-appropriation’ demands immediate attention with more of the Divide & Dissolve’s crashing cymbals and abrasive riffs, before the penultimate ‘Reparations’ seeks to musically right the wrongs that white supremacy and patriarchy have inflicted on indigenous communities. Its slow-building, atmospheric nature seethes and soothes in equal measure, before ‘Indigenous Sovereignty’ closes this exploration of the unheard.

The eight tracks on Abomination are a platform on which Divide & Dissolve “transform the experience of space and time” and draw on the experiences of their ancestors and surroundings to create their unique and extraordinary sounds. It’s instrumentalist activism that seeks to disrupt the norm – and we love it.

Abomination is available to stream  & download now. Follow Divide & Dissolve on Facebook for more updates.

Photo Credit: @annasnowsill

Kate Crudgington
@KCBobCut

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