Track Of The Day: Blonde Maze – ‘Not All Flowers Bloom’

Having been a huge fan of New York artist and previous guest on our radio show Blonde Maze for a long while now, I was excited to see that she has shared a brand new single.

Reflecting on the realisation that even though something is beautiful, it may not last forever, ‘Not All Flowers Bloom’ is an an utterly dreamy offering. As chiming beats and twinkling hooks accompany the beautifully luscious vocals, a truly euphoric electro-pop soundscape is created. Of the track, Blonde Maze expands: 

“Something may grow but not fully bloom. This song is about the acceptance and awareness of that realization. The cover art is a girl watering a flower that’s dying, trying to revive it. But she’s also looking out into the field of blooming flowers, because she knows in the back of her mind, her blooming flower is somewhere out there.”

‘Not All Flowers Bloom’ is a perfect example of Blonde Maze’s knack for creating exquisite soundscapes. I could listen to everything she creates on a loop forever – I just find her music so completely calming and blissfully cathartic. Essential listening for these anxiety-inducing times. 

Mari Lane
@marimindles

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Track Of The Day: Tiger Mimic – ‘Where The Fire Used To Be’

In a dazzling new energetic single, London rockers Tiger Mimic give us something stellar to remember them by. With invigorating garage rock tones and poetic vocals, ‘Where The Fire Used To Be’ places the fierceness of bands like Metric and Arctic Monkeys alongside the softness of Jess R’s vocal parts that embody a sweet sonic release. With whispers of psychedelic guitar and the tendency to simulate the loud, quiet, loud effect of ’90s rock, ‘Where The Fire Used To Be’ has a mature sophistication and sense of nostalgia to it, with shades of The Pixies or The Cranberries. 

Tiger Mimic keep the pace moving with a change in tempo halfway through the single, creating a cathartic moment that explodes into a lustral instrumental jam that characterises the discussion behind the track’s lyrics. “The golden glow of the fall” is surely reflected in the band’s musicality and skill to drive their instruments at a climax, and then elegantly pull back to create space and juxtaposition. 

In a society where we have experienced so many trials and tribulations over the last few months, Tiger Mimic’s energy serves as both a purgative and therapeutic narrative for their listeners. Someday soon, “the whole world will start over in the spring” and we will reflect on ‘Where The Fire Used To Be’.

 

Jillian Goyeau
@jillybxxn

Photo Credit: Robert Alleyne

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ALBUM: Screaming Toenail – ‘Growth’

Having blown us away with the impassioned magnificence of their live show at The Finsbury last December, and with performances for the likes of Decolonise Festival and Afropunk Battle Of The Bands under their belts, anti-colonial queer punks Screaming Toenail have become firm favourites here at GIHE and their message is more resonant now than ever before. With singles such as ‘I.O.U’ and ‘Sever’ already out in the world, they have now shared their new album Growth. 

Opening with a jarring recording of reports of trafficking migrants and “swarms” of refugees coming across the Mediterranean seeking a better life, the album starts as it means to go on: honest, politically charged and utterly necessary. As the swirling, whirring soundscape of ‘Swarm’ builds the tension against the raw, impassioned drive of front person Jacob Joyce’s vocals and poignant lyricism, Screaming Toenail hold no punches in immediately deconstructing ideas of colonialism and empire. 

Continuing these themes, ‘White Saviour’ is a glaring commentary on the way in which white supremacy and institutionalised racism can so often be overlooked in society, particularly when assigning the roles of ‘celebrity’ or people that are revered within our communities. With a tongue-in-cheek sense of pride, Joyce denounces individualistic colonial mentalities with a distinctive seething energy.

With shades of ‘80s post-punk, ‘Define and Conquer’ speaks for itself; with striking imagery and an angst-driven drive, Joyce reflects on the damage of Britain’s “conquest and expedition”, whilst ‘I.O.U’ asserts with a fierce intensity that we are so much more than our wages and that we don’t owe our bosses, landlords, or this racist government, anything. Propelled by an impassioned cathartic rage and swirling magnetism, its raw, riotous power immerses the listener in its striking, empowering message. 

Propelled by a dark, visceral drive, ‘Sever’ envelops the ears with a stirring resonance. With shades of the anthemic, emotive energy of The Cure, it showcases Screaming Toenail’s ability to create truly compelling offerings with exquisite musicality. Of the meaning behind the track, the band explain: 

“‘Sever’ is written in response to the never ending saga of getting your hair cut as a gender non conforming person. Or is it our response to the displacement so many of us feel as black and brown people in the diaspora? Or maybe building queer community and resisting shame...”

With an empowering energy, ‘Crystal Queer’ celebrates the growth of black, queer resistance with a racing force and uplifting, vibrant power. With its colourful spirit, it’ll leave you feeling hopeful – fists clenched – ready to come together and rise up against the forces seeking to oppress. 

Continuing the uplifting vibes, and with a beautifully witty lyricism, ‘Get Cute’ is guaranteed to make you smile. With spot on ‘cute’ imagery (including personal highlight “You’re like a little old lady shoplifting from Boots”), it’s the perfect invigorating and cheer-inducing anthem to sing along to, know that you’re worth it and soothe any insecurities you may be feeling. And anyone who was at our gig at The Finsbury in December will have glorious memories of Screaming Toenail performing this live, and the comforting sense of unity and cathartic joy that filled the venue, as like-minded people came together to dance and sing in solidarity. 

‘Giant Woman’ closes the collection with all the empowering, patriarchy-smashing energy you’d expect; naming a number of visionary “giant’ women such as Diane Abbott and Reni Eddo-Lodge, it encourages you to take inspiration from others, as well as yourself, when facing the world and overcoming its challenges. A perfect motivational end to Growth’s stirring call to arms.

Despite my focus on the album’s words, it’s not simply Growth’s subject matter that demands to be heard: it showcases the eclectic and innovative musicality of the band. From immense, reverb-strewn riffs and racing punk beats, to fizzing electro-driven soundscapes and a swirling dark mysticism, it provides a perfectly danceable soundtrack to its resonant content. 

As a sort of ‘P.S’, I just wanted to add that I really have struggled to put into words just how completely important and strikingly poignant Screaming Toenail are, and I think really the album needs no explanation. You need to listen to the lyrics, the commentary on what is happening in this country right now, the raw angst and emotion that shines through every track, the magnificent cathartic energy that the band put into everything they create, to understand. I was, in fact, almost reluctant to write about it, as I don’t want any of my words to take away from the raw and necessary power of the band’s.

Growth is truly a soundtrack to our times; starkly reminding us that on returning to ‘normality’, we need to create a new normal. One in which voices like Screaming Toenail’s can be amplified to the max; one in which we prioritise creating safe, queer, intersectional communities and spaces for people to share their art together. One in which we are all continually fighting for change and feel able to grow bigger and louder in the face of challenges, and feel excited for the future. 

 

Growth is out now via Hell Hath No Fury Records. Buy it on Bandcamp.

Mari Lane
@marimindles

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WATCH: Jessica Winter – ‘Sad Music’

Born from the desire to create an unusual video with hardly any budget, Jessica Winter has shared an edgy set of visuals for her single ‘Sad Music’. Lifted from her debut EP of the same name which she released via Roya earlier this year, the track is an electro-pop gem inspired by the need to relieve heartbreak through the medium of music.

Winter produces her music from her bedroom studio in Brixton, effortlessly blending various elements of electronica, pop, R&B and industrial music to create her intensely dance-able sounds. ‘Sad Music’ is a perfect example of this, and the accompanying video directed by Nan Moore catches both the light and the dark explored in her music.

Speaking about the new visuals, Winter explains: “Nan and I started it with zero budget, so we sweet talked our way into Specsavers and took a National Express down to Portsmouth beach to film the initial scenes. A year went past and we hustled, we toured together and eventually convinced someone to give us the cash to finish it off. The only reason we got into Spescavers was because I was there so often with a health condition called blepharitis, you treat it by using artificial tears. I think that reflects how as an artist, a woman putting out pop music, you always feel like there’s an element of being performative. ‘Sad Music’ is performative, it’s getting through heartbreak with a song and a dance.”

As well as her Sad Music EP, Winters has released the Chambermix edition, with stripped back versions of each song that focus on her vocals and piano. With a talent for both taking it down and cranking it up a notch, Winter has earned her Queen of sad bangers crown. Watch the video for ‘Sad Music’ below and follow Jessica Winter on bandcamp and Spotify for more updates.

Kate Crudgington
@KCBobCut

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