Five Favourites: Jess Ribeiro

Having shared stages with the likes of Angel Olsen and Nick Cave, Australian artist Jess Ribeiro is now set to release her new album, Summer Of Love, next month. Written during a time of instability and reflecting on themes of isolation and loss, the emotion rich splendour of her vocals shine throughout, offering a glimmer of hope during uncertain times. As her poignant lyricism ripples alongside a glistening yet gritty musicality, the album showcases Ribero’s ability to create stirring heartfelt anthems with a captivating grace.

We think one of the best ways to get to know an artist is by asking what music inspires them. So, to celebrate the upcoming release of the new album, I caught up with Jess to find out about the music that inspires her the most. Read about her five favourite albums and watch the video for recent single ‘Everything Is Now‘ below!

George Rrurrambu and Birdwave – Baru
I first heard this record in the Northern Territory when I lived in Darwin, and spent lot of time touring remote and outback locations. My bass player at the time started this group with his brother as well as with the legend George Rrurrambu, a famous Indigenous musician who performed in the Warmupi Band in the ’70s/’80s. George was known for his rock music, singing in Yolngu Mate (his mother tongue), as well as English, but in this outfit it’s more reggae with his trance like singing in Yolngu Mate. I love when artists are open to experimenting with different genres and, as a songwriter, I really like writing songs in all styles. Sometimes it doesn’t work, but this combination works for sure. I hold this album in my heart as one of the greatest Australian albums of all time. It’s very hard to get a physical copy of it, but look it up on YouTube. 

PJ Harvey – Dry
When I was 13 I bought a black and white tv for $5.00 from a second hand store. I set it up in my bedroom and invited a friend over for a sleep over so we could watch RAGE, the weekend music program that started at midnight. Led Zeppelin came on which was cool, but then the music clip for the song ‘Dress’ by PJ Harvey came on and changed my world. The song blew my mind. It made me feel crazy. The strings at the end were a revelation as I was a very lazy learner (of the violin), and the song gave me hope that maybe I didn’t have to read the music and play nicely. There is a sexy guitar line in the instrumental section and still to this day I want to listen to that song on repeat. I lived in a small town where it was hard to access music, but I somehow managed to borrow Dry from an older girl at school and I taped it onto cassette. A friend’s older sister showed me how to play some chords on the guitar and eventually I taught myself how to play the song ‘Joe’. Soon after, I gave up violin and moved to writing songs and playing guitar.

Kate Bush – Hounds Of Love
I listened to a lot of my dad’s records growing up and was particularly drawn to his Kate Bush collection. An art teacher discovered I was a fan and gave me lots of videos, CDs and books on Kate Bush and Wilhelm Reich to study and read. Kate Bush wrote a song about Reich called ‘Cloudbusting’. The cloudbusting machine was created by Reich, who believed he could release orgasmic energy into the air which would dissolve pollution and stop war. He was jailed by the American government and his son wrote a book about it called ‘A Book of Dreams’. That’s what the song Cloudbusting is about. Each track on this record is a story condensed into a song; Kate Bush is a very good storyteller,songwriter, dancer and actor. I’d love to get better at bringing these elements into my writing.

Patti Smith – Horses
I was sitting in a circle with some girlfriends getting stoned one day after school, and someone put on the album Horses. I started tripping out to the lyrics; it made me feel rebellious and made me want to be a poet. The album was produced by John Cale, whose music I now deeply love, he is also part of the Lou Reed, Velvet Underground lineage. This album influenced me to be who I am and work with what I have, which is a short attention span and not much interest in premeditating production. I love vibing music with a group and being open to spontaneity in the studio. Patti  improvised the lyrics to the song ‘Birdland’ in the studio – they come from ‘A Book of Dreams’ by Peter Reich (she too wrote a song about Reich who made the cloud busting machine!). When I went to university I studied classical music and singing. In my final exam, the teachers told me I was a performance poet more than a technical musician – I took this as a compliment, as I never had any desire to become an opera singer or a classical musician.

Nirvana – MTV Unplugged In New York
I saw this on tv at about 2am in the morning and it became my favourite Nirvana record. Every song is fucking fabulous, including the cover songs by Bowie, Leadbelly, The Meat Puppets and more. I love it when rock artists present stripped back versions of their songs. The harmonies in this live recording are beautiful and there is a cello in there too! This album made me realise a good song is a good song, and I aspire to make a good song that can be performed with a whole band or solo.

Massive thanks to Jess Ribeiro for sharing her Five Favourites! Watch the video for her beautiful single ‘Everything Is Now’ here:

Summer Of Love, the new album from Jess Ribeiro, is set for release on 12th April via Labelman, pre-order here. And she’s coming over to the UK in May – info here.

Photo Credit: Nick Mckk

LIVE (Photos): Grace Petrie – Islington Assembly Hall, 14.03.24

Having last seen Grace Petrie live at local venue Stanley Arts back in 2021, and spoken to her earlier that year, it was great to get the opportunity to see her again – this time with a full live band at Islington Assembly Hall, and oozing even more understated, yet strident, empowering charm than ever before. A truly wonderful and unifying evening, celebrating the release of her new album, Build Something Better (and in anticipation of its exciting top 30 chart position the following day), it was a real pleasure to experience her poignant, politically-charged anthems amongst a filled venue of like-minded individuals. With her lilting folk-strewn musicality elevated and energised with the addition of Robin Gatt on lead guitar, Francesca Knowles on drums, Jasmine Kennedy on bass and Amy Thatcher on accordion, as well as her constant comrade Ben Moss on fiddle, it felt like a particularly special evening; whilst not holding back with addressing issues of urgency with a fierce spirit, Petrie was able to create an atmosphere of joyous warmth and solidarity. Resonant, necessary messages delivered with an infectious energy, inciting us to unite and fight against the forces that seek to oppress us. 

As well as being lucky enough to immerse ourselves in Grace’s live set, we were able to have a quick chat about the new album and tour, see our photos from the night, and snippets from the interview below.

“Build Something Better is probably my most political record for a long while. It was inspired by the general sense of dissatisfaction in modern day Britain, especially the nationalistic undertones that the government are utilising to try and distract from the many ways that people are increasingly unhappy and dissatisfied with living standards here. And that just kind of inspired a lot of angry, political songs.”

“Writing the album, I was very inspired by different folk-rock albums, like Bruce Springsteen’s Wrecking Ball, The Decemberists, and an Australian band called The Maes that I’ve been listening to a lot recently.”

“I’ve been having an amazing time touring it, this is my first time playing with this line-up, and it’s just been absolutely amazing. I couldn’t ask for a better band to lift these songs to an amazing new live level that I’ve never been able to access before. I’ve just been having a really great time!”

GIHE alumni Gabi Garbutt also delivered a really beautiful set as support, before Molly Naylor treated us to her witty and relatable poetry.

Build Something Better, the new album from Grace Petrie, is out now via The Robot Needs Home Collective. And Grace will be heading out to Australia this week for a couple of live dates, before heading back there in May for the Guilty Feminist tour. More info here.

Photo Credit: Paul Dawes / @GRNDglass

LIVE: SPIDER – Camden Assembly, London (20.03.24)

The last time we saw alt-pop polymath SPIDER play live, she was dominating the stage at The Green Door Store in 2023 at The Great Escape Festival in Brighton. Playfully taunting the “industry guys at the back” to move forward and dance along to her high energy anthems, the Irish songwriter and producer impressed us with her defiant attitude and eclectic mix of genre-blending songs. Fast forward ten months to her first London headline show at Camden Assembly and the effect is very much the same.

Celebrating the release of her new EP, an object of desire, SPIDER performed a set of riotous, angst-ridden tunes about coming of age in an antagonistic world that often tries to dictate this deeply personal process. Joined on stage by her drummer and guitarist, she launched into the title track from her new record, which instigated an impassioned response from those at the front of the crowd. Wearing a t-shirt adorned with the slogan “Who TF is Spider?” the Irish musician was quick to compliment her audience on how “hot” they all looked, before diving into tenacious renditions of ‘Straight Out The Oven’ and ‘Daisy Chains’.

From its inception, SPIDER’s set was a joyful, animated medley of pop punk and alt-pop noise with the occasional slower tempo tune – like the smouldering ‘Romeo’, lifted from her debut EP, C.O.A (Coming Of Age). Between songs, her natural quick wit and charisma shone through. She encouraged members of the crowd to shout out the names of exes treated them badly and took puerile delight in hearing them chant the lyrics to ‘Fuck You Fuck Everything’ from her second EP, HELL OR HIGH WATER, back at her.

SPIDER’s humour is underscored by a more urgent purpose though. Despite their vivacious delivery, her songs are underscored by themes of alienation and inequality. On tracks like ‘TRAUMA’ and ‘5678’, which she dubbed as a new “fan favourite”, she took an extended amount of time to contextualize why she creates her music. ‘TRAUMA’ was inspired by the entitled behaviour of a white boy who refused to pay for his shots when she was working behind a bar, whilst ‘5678’ focuses on the gendered double standards and the unacknowledged emotional labour of girls and women. Her reflections on the emotional resilience that’s required to endure and heal from these experiences is driven home by her direct lyrics, strong vocal performance and clear intonation.

SPIDER openly explained that as both a young woman and a young woman of colour, she routinely grapples with the contradictory ways in which her behaviour on and off-stage is analysed and interpreted by others. ‘5678’ is SPIDER’s way of navigating this chaos, rejecting false perceptions, and moving forward with the strength of her fans, who cheered along as she acknowledged these damaging and unfair projections.

The Irish musician is a passionate advocate for instigating change in a predominantly white, male music industry. This is reflected in her crowd – formed of majority female and gender-non-confirming fans who dance and sing without inhibition – and in her choice of support acts. She shared the bill with fellow emerging alternative artists of colour SAFESP8CE and BUKKY. This outlook is also epitomised during her corrosive closing track, ‘America’s Next Top Model’, which was penned as a response to the backlash and whitewashing she has experienced online. During the performance, she joined her crowd as they playfully pushed each other in the mosh pit, openly enjoying her moment in the spotlight at her first London headline.

Whilst SPIDER’s live set is ultimately a space for fans to cut loose and forget about the outside world, it also serves as a reminder that if we want artists like her to thrive, we need to start showing up for them; whether that’s physically at gigs, buying their music, or simply spreading the word about them online.

Follow SPIDER on SpotifyInstagramTwitter & Facebook

Kate Crudgington
@KCBobCut

FIVE FAVOURITES: Softcult

Formed of twin siblings Phoenix and Mercedes Arn Horn, Canadian duo Softcult have had a busy few years touring extensively with the likes of Incubus, Movements and MUSE, as well as releasing a trio of excellent EPs: Year Of The Rat (2021), Year Of The Snake (2022), and See You In The Dark (2023). Now, the pair are gearing up to release a new collection of songs, titled Heaven, which they’ll be sharing on 24th May via Easy Life.

With their shimmering guitar tones, swirling FX and atmospheric dual vocals, Softcult provide their listeners with welcome moments of respite from the pressures of everyday life. With tracks that touch on issues of body image and self esteem, to anthems that advocate for gender equality and anti-capitalism, the duo’s musical ethos is rooted in a desire for a better world than the one we currently exist in. This is the thread that connects the tracks on their upcoming EP, Heaven.

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 guitarist and vocalist Mercedes to ask about her “Five Favourites” – five tracks that have inspired Softcult’s songwriting techniques. Check out her choices below and scroll down to listen to Softcult’s latest single ‘Spiralling Out‘ at the end of this post…

 

1. Radiohead – In Rainbows
I can’t say enough about how much this album has influenced me. Since I first heard it I fell in love with Johnny Greenwood’s guitar work, Colin Greenwood’s basslines, and of course Thom Yorke’s hauntingly beautiful vocals and lyrics. It changed the way I think about groove, opening new possibilities on how melodic instruments interact with percussion, and creating melodies that stand alone yet fit together like the intricate pieces of a puzzle. Easily one of my favourite records of all time.

2. The Sundays – Reading, Writing & Arithmetic
This album is so enchanting and captivating for me. I’m drawn in by Harriet Wheeler’s delicate and dreamy vocals and David Gavurin’s shimmering, jangly guitars. Together they create an atmosphere that beautifully captures emotions like ebullience and pensiveness and balances them in such an introspective way. It’s very intelligent music that is also easy to listen to, which is a rare combination. It’s influenced my vocals and melody writing, as well as my guitar style and tone on our dreamier songs.

3. Deftones – Diamond Eyes
Deftones have SO MANY incredible albums, so it’s really hard to choose a favourite, but I think Diamond Eyes is one I keep coming back to because I love the dichotomy of heavy, crushing guitar and atmospheric, heavenly shoegaze ambience. Chino Moreno sings with such angst, yearning, and sort of this agonizing lustiness that I haven’t heard from any other vocals. It’s so expressive. It captures a very specific mood. It definitely has influenced our music in a big way.

4. Cocteau Twins – Head Over Heels
Again, just a huge influence on us in terms of atmosphere, guitar tones, vocals, and overall ambience. This record was so ahead of its time. I think it shaped the sound of dream pop and shoegaze a decade before that scene really bloomed. This record is enchanting and mesmerizing for me. It has a mystery to it. Elizabeth Fraser’s vocal style is a huge influence on me, as well as Robin Guthrie’s guitar style. I don’t think ‘Love Song’ would exist if I’d never been exposed to this album.

5. Bikini Kill – Pussy Whipped
While this album definitely has a different sound than anything Softcult has ever been influenced by musically, I cannot deny that I am deeply inspired by the lyricism and ethos of Kathleen Hanna. Kathleen is the woman who essentially founded the Riot Grrrl movement and zine culture in the feminist punk scene. Her activism through music is what inspired me to be in a band and to use my art to empower people, specifically women, non-binary and trans people.

I honestly try to channel her when I’m on stage, no matter how nervous I might feel. Her ability to channel righteous feminine rage and power into a movement that continues to fight for equality is nothing short of inspiring. We are HEAVILY influenced by Bikini Kill’s fiercely cutting and poignant lyricism as well as the riot grrrl aesthetic and culture that they founded in the 1990s.

Honourable Mention: My Bloody Valentine – Loveless
I feel it would be remiss if I didn’t also include My Bloody Valentine’s album in this list. Sorry, I know we were supposed to only pick five! But this album has so greatly shaped my guitar playing and Phoenix’s production in terms of creating a wall of sound with macerating fuzz into reverb the way Kevin Shields does. I just have to mention it or I couldn’t live with myself.

Thanks to Mercedes for sharing her Five Favourites with us!

Watch the video for Softcult’s latest single ‘Spiralling Out’ below
Pre-order Softcult’s upcoming EP, Heaven, here

Follow Softcult on bandcampSpotifyInstagramFacebook & X

Photo Credit: Kaylene Widdoes

Kate Crudgington
@KCBobCut