Introducing Interview: Heart Rot

A brand new band who’ve popped into our inbox for the first time recently, New York based Heart Rot deliver their ethereal yet gritty creations with a fierce allure, inspired by the quiet-loud dynamics of the ‘90s grunge scene. A completely DIY project, the band draw influence from their experience as girls and connection to the natural world in their songwriting, and pride themselves as artists honing their craft; not just in creating their music, but in their merch too. With just two songs out so far, they’re a new favourite for sure, and we can’t wait to hear more of their raw, bewitching soundscapes.

We caught up with Lily, Maya and Ceci from the band to find out more – have a read, and make sure you check out Heart Rot‘s double A-side singles ‘Anchors To Elsa‘ and ‘Sunday Night‘ now!

Hi Heart Rot! Welcome to Get In Her Ears! How are you doing today?
Thank you so much for having us! We’re doing amazing thanks!

Are you able to tell us a bit about how you all met and started creating music together?
We met through moving to college in New York City. We all knew that we wanted to be in a band, but got so lucky to meet each other early on, thanks to social media. The first time we played together, we felt such a natural musical connection between us and by our second practice we were writing songs. 

I love your gritty grunge-tinged sounds, but who would you consider to be your main musical influences?
Our main source of inspiration definitely comes from the sounds of ’90s alternative and grunge music-acts like The Breeders, Hole, Sonic Youth, Pixies, Mazzy Star, Veruca Salt, and Belly. 

You recently released your awesome double A-side single ‘Anchors To Elsa’ / ‘Sunday Night’ – can you tell us a bit about these tracks? Are there any particular themes running throughout them?
Thank you so much! A little over a year ago, I (Lily) brought in both of these songs in the forms of rough demos, having written the lyrics and chords on her acoustic guitar. ‘Anchors to Elsa’ was written in the summer of 2021, when Hurricane Elsa was soaking the East Coast of the US. I have always been fascinated that we name storms, humanising these archetypally terrifying natural disasters. The effects of climate change are actively intensifying the prevalence and tenacity of such storms, which is the cause of so much grief and anxiety among young people today. Young[er] at the time, I was experiencing emotional turmoil and angst, stir-crazy from the pandemic and stressed about the future. Elsa was such a fitting metaphor for how I was feeling; I just wanted to run across the whole world and release all of my fears and doubts like water and wind. The fact that Elsa is already ingrained in mainstream culture as the storm of Arendelle was not intentional, but as my little sister pointed out, quite apt. Lyrically, we think it is beautiful to relate emotions to aspects of the natural world, seen in ‘Sunday Night’ through lines like “the rain washes away all I ever said” and “you need my gnarled roots, a perpetual tree”. We are really glad that we did not rush into recording right after writing, and think that the time we spent with them rehearsing and playing live really helped them to evolve. 

You seem to really pride yourselves on being DIY and honing your craft; not just musically, but by making all your own merch too. Are you able to tell us a bit more about this and what inspires you to do this? 
The driving force for our merch production and process is sustainability. The garment industry in particular is extremely problematic – although filling out an online order form is much easier, we really believe every act and decision is valuable. We are committed to hand printing our merch on thrifted shirts and sweaters, and being physically present throughout the process instead of outsourcing. The first part of our merch-making process is going to a pay-by-pound thrift store where it is easy to find hundreds of blank tees, tanks, and sweaters with so much life left in them. Our guitarist Maya draws incredible digital sketches and I’m able to use the printmaking studio at our school to screen-print those designs. The innate uniqueness of each shirt is something we are very proud of; no two Heart Rot merch pieces look alike.

Being based in New York must be pretty exciting. What’s the live scene like there at the moment? 
There are so many incredible rock bands in New York right now who draw influence from many different sub genres of the last fifty years of rock and indie music. It’s super awesome to go to shows because every act has such a creative and unique sound. We also know a lot of bands, including ourselves, that are in some form of art school. In addition to making music, a lot of us are photographers, painters, fashion designers, and printmakers, which speaks to the whole DIY energy here. It’s also super exciting and inviting to see and play with more women and queer-led groups. It’s great that the music scene is becoming more inclusive.

And what can fans expect from your live shows? 
We like to stack shows that we organise with as many female/non-binary bands as possible, so you should expect to see some other incredible acts (and dance in the crowd with us). We like to do this only semi-defined ritual called ‘girl mosh’ (not just for girls): our version of a safe and inclusive way to contrast the typical exclusive, almost jarring body-slam that dominates traditional punk/rock scenes. We hope to foster a safe and fun energy in the crowd. 

As we’re an organisation keen to support new artists, we just wondered how you feel the industry is for them at the moment? And do you feel much has changed over the years in its treatment of female and queer artists? 
I think many of us have seen a definite shift on what it means to be a popular and successful artist because the internet and social media have become such a determining factor in connecting with other artists and audiences. The musical landscape that female and queer musicians are entering now celebrates us a lot more and there has been an enormous amount of progress within the last fifty years. We’ve been so appreciative of how we have been received as a band, but know that our experience is certainly not universal. Misogynistic biases continue to find ways to put down female artists – the current version on social media seems to be the assumption that breakout female artists are “industry plants”. This completely disregards their artistry, chocking it up to unjust inflation or some behind-the-scenes corporate manipulation.

And are there any other new bands or artists that you’d recommend that we check out?
There are so many incredible bands active in NYC releasing music and playing shows. Le Bang, The Dutch Kills, OMAT, and Lucky Number are some of our favourites! 

Finally, what does 2024 have in store for Heart Rot? 
Definitely more music and a relentless amount of live shows! We hope to release our full length album, keep producing homemade merch and related artwork, and release more music videos. We have a handful of shows coming up in February, but we’re most excited for the show on February 10th at Stone Circle Theatre in Queens, NYC.

Massive thanks to Heart Rot for answering our questions, we can’t wait to hear more from them soon!

Photo Credit: @ellamenop3

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NEW TRACK: Softcult – ‘Shortest Fuse’

Following on from their previous single ‘Haunt You Still’ – a bittersweet reflection on the mark we leave on others in the extended aftermath of a breakup – Canadian duo Softcult have shared their latest track, ‘Shortest Fuse’. A melodic lament to the vice-like grip of life under capitalism, the single is another haunting blend of the band’s trademark shadowy riffs, urgent vocals and commanding beats.

Formed of twin siblings Phoenix and Mercedes Arn Horn, Softcult have had a busy few years touring with the likes of Incubus 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 another collection of songs, with new single ‘Shortest Fuse’ providing listeners with an insight into what they can expect from the duo in the coming months.

Speaking about the inspiration behind the track, Softcult explain: “Capitalism seems to be designed to keep underprivileged people toiling in a never ending cycle of debt and poverty where their labor is underpaid in order to profit their employers. The benefits of capitalism are rarely equally distributed, accruing wealth to a very small percentage of the population. Built on the notion of greed, benefitting only by paying workers less than what their labor is worth, it’s difficult to not become disenfranchised with capitalism when you exist in this reality and see no end in sight. We can’t become complicit in a system that is designed to keep us down.”

With their shimmering guitar tones, swirling FX and gentle dual vocals, Softcult provide listeners with a moment of respite from the pressures of everyday life on ‘Shortest Fuse’. Watch the band’s self-directed accompanying video for the track below.

Follow Softcult on bandcamp, Spotify, Instagram, Facebook & X

Photo Credit: Kaylene Widdoes

Kate Crudgington
@KCBobCut

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Introducing Interview: Samantha Lindo

Having released her debut album. Ancestry, towards the end of last year, Bristol-based artist Samantha Lindo has received acclaim from the likes of BBC 6Music and BBC Introducing, and is a regular on the live circuit, having performed at festivals such as Boomtown Fair and Bristol Jazz and Blues festival.

Having received support from the Arts Council and the Mobo Fund of Help Musicians UK to create and release the album, throughout the collection Lindo reflects on her compelling family history, whilst drawing on themes of climate justice and dual heritage identity with a stirring emotion; her rich, soulful vocals rippling throughout shimmering jazz-tinged soundscapes.

We caught up with Samantha to find out more about her experiences of writing and recording the album. Have a read and make sure you check out the album now!

Hi Samantha, welcome to Get In Her Ears! Are you able to tell us a bit about what initially inspired you to start creating music? 
I’ve sung from when I was small – being in plays and concerts, where people came together around the arts, were some of my most cherished childhood memories. I guess once I was an adult and had been in several different projects singing other people’s songs, I was in a place in my life where I wanted to start exploring my own inner world and my own healing – and I started creating music from there.

I love your soulful jazz-tinged sounds, but who would you consider to be your main musical influences?
I would say genre-wise I would describe my sound as spanning the realms of spiritual jazz, gospel, folk and spoken word. In terms of artists, my sound is inspired by classic artists like Marvin Gaye, Carole King and Minnie Riperton, as well as contemporaries such as Robert Glasper, Cleo Sol, Sault, and Jordan Rakei.

You recently released your debut album Ancestry, which is very exciting! The album reflects back on your family history – are you able to explain a bit about what inspired you to focus on this as a concept? 
During lockdown in 2020 I reconnected with my second cousin in Canada over WhatsApp and zoom. She lived in JA until she was seven, whereas my dad was born in the UK. She was so much more connected to our family history than my dad is, and has pictures, stories and all this amazing information. Viewing it all through the lens of the BLM movement and world issues, gave it all a different dimension. It felt so healing and strengthening to connect to the heritage and history that I’d come from and gave me a new perspective on the future. I felt really inspired to delve deeper into those stories and that process through music. 

And what was the writing and recording process like for you?
It was a multi-layered process. The original jamming and improvising around each story was really intimate: me connecting to my different ancestors and being open to what emerged. I’d then share that with my partner Dylan who might structure some chords and musically respond to what I had heard. Then I took a set of rough songs to Alex Veitch, who workshopped each one with me, disrupting my usual process, and finding different chord flavours and structures. We then took the rough recordings to producer, Doug Cave, who helped me imagine each track as a full arrangement before we took them into rehearsals with the band for several days before we recorded the main full band tracks. After that there was a lot of reflection and layering with various session musicians and recording of all the harmonies. I found the labour of all the harmonies the hardest, whereas the performance of the lead vocals flowed really easily. I honestly loved the process. We did most of it in Doug’s house, and I’d bring home cooked lunches and we’d hang out in the garden so there was a really relaxed but hard working feel to it all.

You also received funding from the Arts Council to help with the album – how did you find the experience and applying for this, and what advice could you give to other musicians when applying?
Find your own narrative, what you are saying and why, and also know who you are wanting to talk to, who your audience is. Think of some measurable goals that will let you know you have made the thing you want to and delivered it to the people you wanted to. Be as specific as possible. And get someone to help you who has done it before. There are also sessions you can go to to give you more information about the funds and how to apply. 

What can fans expect from your live show?
Playing live is my favourite thing about being an artist. You can expect a compelling, moving vocal performance; storytelling that helps you connect with the music and yourself and a new and different way. And the musicians are also at the top of their game, so it will be an all round immersive, beautiful experience, I hope. 

And when you’re out on tour, are there any particular essentials that you like to take with you to keep you going when away from home? 
I tend to prioritise keeping as well as I can. Echinacea & apple cider vinegar to keep colds at bay. Diffuser with essential oils for good sleep. Yoga mat for pre-show stretching and warm-ups, and my massive water bottle.

As we’re an organisation keen to support new artists, we just wondered how you feel the industry is for new artists at the moment? And do you feel much has changed over the years in its treatment of female and queer artists? 
I think the platforming of female and queer artists has increased massively over the last decade. Having had a baby this year, I’m also really excited about groups emerging of mothers in music, exploring how to advocate for and support one another when so much of the industry is way behind on being aware of inclusivity in this area. 

And are there any other new artists you’d recommend that we check out? 
Marla Kether & Holyseus Fly.

Now that the album’s out, what are you looking forward to in 2024? 
My live show at the Bristol Beacon in April, and then festivals in summer. I can’t wait to be playing the album live. I look forward to seeing you at one of the shows!

Ancestry, the debut album from Samantha Lindo, is out now.

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WATCH: Schande – ‘Relevant Campaigns’

Having been a big fan of noise-pop-shoegaze-tinged legends Schande for a while now, with my love of them being revived when they charmed our ears playing our first gig back after covid in 2021, I’m super excited to hear that they’ll be releasing their new album in April this year, via Thurston and Eva Moore’s record label. And now, following last year’s scuzzy ’52 Hz’, they’ve shared a truly enchanting new single.

To be honest, I can’t seem to stop listening to ‘Relevant Campaigns‘ and crying. It’s a thing of pure beauty. Its twinkling grace. The whirring to-ing and fro-ing, like the constant rippling of the tide that keeps going even when everything else seems like it’s stopped. The shimmering hooks that rise and fall. Jen Chochinov’s whispering vocals fading in and out with an understated melancholy.

Written while Jen’s mother was terminally ill, it’s an exquisite rumination on the fragility of life and the strength of love. Of the track, she explains:

“It was a way to conjure love and healing and try to balance out my own fear and anxiety which felt all too consuming. After my mom passed away at the end of 2023, this song being released now feels like a gifted timely reminder to hold on to what was shared while navigating loss. ‘Relevant Campaigns’ is essentially about picking your battles, to really assess where your priorities and energies lay because time is such a finite resource. More to the point it’s about choosing love, hope, and resilience.”

‘Relevant Campaigns’ is accompanied by a really beautiful animated video. Co-created by Sarah Lippett and Duncan Barrett, it perfectly depicts the heartfelt sentiment of the track as the protagonist engages in a stirring silent dialogue with the moon. Watch it here:

Once Around, the upcoming new album from Schande, is set for release in April via The Daydream Library Series, the house record label of Thurston and Eva Moore’s Ecstatic Peace Library collective.

Mari Lane
@marimindles

Photo Credit: Heidi Weber

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