LISTEN: Small Crush – ‘Rumblin’ Tummy’

A re-imagining of an old track, ‘Rumblin’ Tummy‘ by Californian band Small Crush is a heartfelt and happy love song; it revives their old song, ‘Tummy Rumblin’’, with a fresh perspective, taking the core of the track and making it an uplifting celebration of longevity. 

‘Rumblin’ Tummy’ is about staying in love. It’s about still experiencing the giddy euphoria of seeing someone special, even when they’ve been in your life for a long time. It’s sweet and sincere, and all too easy to get caught up in the moment. Soft vocals and twinkling guitars over an upbeat lilting rhythm echo the vulnerability in the lyrics extremely well, with the delivery of every element resulting in an instantly catchy track that is rich with emotion.

The lyrics detail the feelings with a sense of immediacy that draws you in. There are none of the dry adult concerns about compatibility or politics or long term relationship goals – instead, the song is carefree. It revels in the bliss of the moment and the knowledge that “there is nothing I’d rather do than talk to you”. It is simply about the joy of someone’s company and how their presence makes each day a bit brighter than the last; lingering for a moment to appreciate how, as love grows and changes, the feeling of those butterflies only gets more exciting.

‘Rumblin’ Tummy’ doesn’t over complicate the moment, finding significance in simplicity. It focuses on the immediate sensations, capturing them beautifully in both music and lyrics, until anyone listening is fully absorbed into them.

Small Crush are set to release their second album, Penelope, on 15th September via Asian Man Records.

Kirstie Summers
@ActuallyKurt

Photo Credit: Trinity Gardener

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LISTEN: Problem Patterns – ‘Lesbo 3000’ / ‘Poverty Tourist’

GIHE favourites Problem Patterns have returned with a double dose of delightful, disruptive noise on their AA single release ‘Lesbo 3000’ / ‘Poverty Tourist’. Taken from their upcoming debut album, Blouse Club, which is due on 27th October via Alcopop! Records, the Belfast-based Riot Grrrls tackle homophobia and working class appropriation on their anthemic new tracks. We can’t wait to hear both of them live when the band headline for us at the Sebright Arms in Hackney on 17th November (tickets are cheaper in advance and available from DICE).

Not defined by traditional band structures, Problem Patterns routinely switch up instruments and mic duties for their riotous songs, which always makes for a refreshing take on the subject they’re singing about. Following on from previous single ‘Letter of Resignation’, which saw guitarist Beverley Boal step forward on vocals, on ‘Lesbo 3000’ drummer Bethany Crooks takes the lead as she calls out the prejudices around homophobic language and reclaims it for herself and the LGBTQ+ community.

“‘Lesbo 3000’ was written partly out of frustration and also to reclaim and have ownership over my sexuality,” explains Bethany. “The frustration is that lesbianism is consistently invalidated, we’re told that we just haven’t ‘met the right man’ yet or that some random man in a bar has a magic appendage in his trousers that will completely negate your attraction to women. The reality is that homophobic attacks are becoming more and more consistent with right wing social media emboldening bigots, while ‘lesbian’ remains one of the top search topics on all porn websites. (Mostly) men think that lesbians exist for their sexual gratification, but if they see two women holding hands they go absolutely berserk.”

“I also thought it was important to reclaim the slur ‘dyke’,” she continues. “I’ve been called a dyke multiple times by homophobes who want to hurt me, but if I can reclaim that word it completely takes the power out of it. Yes I am a dyke. And that feels really powerful to say.” With the aid of some truly stunning local drag artists in the accompanying video for ‘Lesbo 3000’, Bethany and the grrrls gleefully dismantle these damaging prejudices and riotously reclaim the language that doesn’t belong on the tongues of ignorant bigots.

“We really wanted it to feel joyful and silly even though the song has quite a serious subject matter,” Bethany comments on the visuals, which were directed by long-time collaborator Brendan Seamus. “We decorated the set like a big gay party! We toyed for months with the idea of paying homage to ‘Addicted To Love’ and ‘Man I Feel Like A Woman’, and thought that involving local drag artists would be a perfect tonic to the constant depressing news cycles surrounding LGBTQ+ attacks and discrimination we see nowadays. Carl Hartt, Hester Ectomy, Xxxpresso Martini and FRUITY were the backing band and they all absolutely killed it. We are so grateful that they even wanted to participate in the video, and they really served 80s hair metal/bimbo/sexy punk realness.”

Problem Patterns are driven by a strong DIY ethos and as a working class band, they feel it’s important to call out the appropriation of this culture in the music industry and further afield. Their second AA-side track ‘Poverty Tourist’ does just that. Fuelled by the riotous dual vocals of Alanah Smith and Ciara King, as well as King’s potent bass line, the track is a Beastie Boys-style blast of pure punk catharsis that came about during the band’s final writing session before they recorded their album.

“We’re a working class band and there are experiences that are very unique to us which we have bonded over,” Alanah explains about the track. “It’s incredibly frustrating to see those struggles co-opted by folks who have never had to worry about money. The kind of people who will dig around charity shops to ‘curate’ bits for their Etsy store where they will sell these items at 10x the price. Charity shops exist to serve the community and there are people that depend on them because there are no other options. It’s the rich kids moving into impoverished areas to make themselves sound more interesting, driving up the rent and gentrifying the area.”

“This sort of romanticisation of the poor is very prevalent in the music scene, especially in bands (and industry types) who align a working class background with being perceived as more authentic. People dress up and change their accent for personal gain only, but as Jarvis Cocker once said, ‘If you called your dad he could stop this all’ – and of course, he also said, ‘Everybody hates a tourist.’ It’s cosplay, it’s gross, and it’s always obvious when someone is doing this.”

Fresh from performing live on BBC 6Music, supporting electro-punk icons Le Tigre on their Manchester and Glasgow tour dates and playing a knockout set at Brighton’s Great Escape festival earlier this year, it’s been a joy to witness Problem Patterns’ hard work pay off. Listen to ‘Poverty Tourist’ below and pre-order your copy of their debut album, Blouse Club, here.

Follow Problem Patterns on bandcamp, Spotify, Twitter, Instagram & Facebook

Photo Credit: Carrie Davenport

Kate Crudgington
@KCBobCut

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LIVE: All Points East, Victoria Park, 25.08.2023

Arriving at Victoria Park to the sound of Le Tigre blasting from the sound system by Goddess, I have a feeling it’s going to be a good day… And I’m not wrong! 

Ensuring we arrive with plenty of time to nab a beer from one of the (very well staffed and efficiently run) bars before Hastings ones to watch HotWax take to the stage, I’m ready for a day of good vibes and fantastic music from predominantly female artists in the East London park. 

Starting bang on time at 3.35pm on the West stage, GIHE faves HotWax kick off their set with the sultry, seething tones of ‘Barbie (Not Yours)’. Looking out at an ever increasing crowd, seemingly consisting of both a large devoted existing fan-base and festival-goers coming across them for the first time, the young trio deliver each immense offering with a truly immersive stage presence – their sparkling, driving energy emanating throughout. As the rich, gravelly vocals of Tallulah flow effortlessly, bassist Lola darts across the stage with a fierce charisma, and drummer Alfie’s pummelling beats pound consistently, and I’m instantly captivated by their visceral power; I can certainly see why they’ve been garnering so much hype over the last few months. Treating us to songs from this year’s EP A Thousand Times, as well as newer songs such as latest single ‘Drop’, HotWax ripple with excitement whilst losing none of their polished-yet-gritty grunge-fuelled sound. “It’s such an honour to be on this stage with so many amazing artists”, Lola gushes at one point, and I can’t help but share their sense of excitement and pride at their recent success – it’s clearly so well-deserved, and I have every confidence that they’ll continuing wowing us with their blistering offerings for a long while yet. Whilst clearly not taking any of it for granted, they ooze a quiet sense of confidence and self assurance that makes it hard not to become utterly engrossed in all they’re creating. Even when they’re told they only have two minutes left, they make every second count; delivering a ferocious rendition of fan-favourite ‘Rip It Out’ to close the set. So, thank you HotWax for kicking off All Points East in style, and thank you to my GIHE team mate Kate for introducing me to this exciting new band… I can’t wait to see and hear more from them very soon!

After a little break with some cajun fries in the sunshine, we make our way to the East stage in time for Nashville’s Be Your Own Pet. Part of their first UK tour in over ten years (and their first time on a festival stage in fifteen), they prove themselves to have lost none of their immense punk-rock energy as front woman Jemima Pearl instantly immerses the crowd in her magnetising charisma, emanating a raw empowering presence throughout. Declaring it a good day – “Trump got arrested and our new album came out” – Pearl leads the way in delivering a gloriously raucous set filled with both classics like ‘Becky‘ and ‘Bicycle, Bicycle‘ and new, but no less exciting, offerings from said album (Mommy). A pretty magnificent return to form from a noughties favourite.

Staying put at the East stage to be spellbound by the beautiful emotion-rich splendour of Angel Olsen, we then head back West to witness the raging ferocity of Amyl and The Sniffers. Having been keen to catch them live for some time now, the Aussie punks exceed expectations. As front woman Amy Taylor’s playful allure and boundless seething energy race throughout each riotous offering, I don’t even mind getting completely soaked to the skin as the heavens open and the crowd – very fittingly – mosh along to ‘Monsoon Rock’. And it doesn’t seem to bother Taylor either – “I had a feeling you’d be getting a bit wet today…”, she jests cheekily, as she continues to swirl around the stage; charming us all with her quirky, effervescent spirit.

After indulging in some tasty vegan macaroni cheese to keep me going, I’m ready to live the dream of seeing total hero Karen O in real life for the first time. And calling the experience dreamy is no exaggeration. The minute the Yeah Yeah Yeahs take to the stage, an all-encompassing majestic splendour takes hold, and I’m left completely under their spell. Whilst they remain refreshingly nostalgic (so many memories of dancing to them at The Pad in Bedford throughout the early noughties), they seem to have mastered staying relevant and truly exciting; creating a live experience like no other. From the surreal, enchanting spectacle of giant eyeballs floating through the crowd, and the band’s refreshing tongue-in-cheek wit throughout (like when O stuffs the mic down her pants), to the heartrending grace and shimmering emotion of ‘Maps’, the “Yeah Yeah Yeahs’ love song” – which O movingly dedicates to the late Sinead O’Connor – it really is the perfect set; a sparkling balance of spine-tingling rippling emotion with fierce, chaotic energy. An experience I’ve been waiting on for twenty years, and won’t be forgetting for another few decades I’m sure.

Whilst The Strokes don’t really fit with our GIHE ethos, what I will say is that I really enjoyed their set. Despite the frustration of not being able to hear everything clearly because of sound issues which were out of the band’s hands, they delivered a fantastic array of favourites, with a joyous energy and slick musicianship. 

Mari Lane
@marimindles

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New Track: CHROMA – ‘Don’t Wanna Go Out’

Having just announced the release of their debut album, out via Alcopop! next month, and with news of an exciting support slot with (my most watched band in the world) Foo Fighters next year, Welsh band CHROMA are definite ones to watch right now. And, with acclaim from the likes of John Kennedy at Radio X and BBC Radio 1’s Alyx Holcombe, their instantly catchy new single showcases all there is to love about Pontypridd’s band on the rise.

Propelled by the band’s distinctive relentless energy, ‘Don’t Wanna Go Out‘ reflects on feelings of FOMO and the pressure to go out and socialise. Raging with seething hooks and front woman Katie Hall’s fiercely raw vocals, it offers a compelling slice of biting garage-rock; a relatable and dance-able anthem that’ll cement itself in the ears on first listen, demanding multiple plays immediately.

Currently in Korea, playing DMZ Peace Train Festival, CHROMA are excited to share their debut album with the world. Entitled Ask For Angela, it shares its name with the UK wide campaign to prevent sexual assault in the UK, and showcases the band’s knack for creating empowering, inclusive offerings covering poignant topics ranging from trans rights and violence against women, to their experiences of growing up in the Welsh countryside. Of the album, they add:

“This album takes us in a direction that we as a band feel as if it affirms the sound that we’ve always wanted to create, and with thanks to Steffan Pringle and Tom E1 Mastering and Duplication, they’ve helped bring these songs to life. ‘Ask For Angela’ is no longer just ours, but it’s yours, now and forever. We hope you find as much joy in this record as it was for us to create.”

And, on their return from Korea, they’re heading straight up to London next Friday 8th September to headline for us at Shacklewell Arms – we couldn’t be more excited. It seems to be their only London show for a while, so do come and join us in moshing along to their gritty energy in a fairly intimate venue, before they hit the stadium next year!


Ask For Angela, the debut album from CHROMA, is set for release on 20th October via Alcopop! Records. Pre-order here. And make sure you don’t miss them live at Shacklewell Arms on 8th September, with support from Leeds band wormboys and Brighton’s UrgentSea – nab tickets here!

Mari Lane
@marimindles

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