WATCH: Rats-Tails – ‘Coke In The 70s’

Born out of Covid solitude, Rats-Tails was formed by singer-songwriter Courtney McMahon and guitarist Chris Bull. Following last year’s debut single ‘Spine’, the ‘dream-rock’ band has already gained momentum and drawn in crowds at renowned London venues like The Windmill and the George Tavern, as well as supporting the likes of Tapir! and Honeyglaze. 

Playfully entitled ‘Coke in the 70s‘, their latest single is accompanied by a video described by the band as “Top of the Pops meets David Lynch” – an accurate description as the stage scene brought to mind Mulholland Drive. 

The track opens with ethereal swirls of guitar awash with shimmering cymbals, creating an eclectic blend of ’90s indie, shoegaze, and ’70s psychedelic rock. Drawing creative influence from bands like Siouxsie and the Banshees and My Bloody Valentine, as well as the compositions of Ennio Morricone, the song oozes a majestic cinematic quality.

McMahon’s velvety vocals take the spotlight in the more stripped-back verses as the melody draws you in, accompanied by relaxed guitar chops. The chorus, in contrast, is far more maximalist, featuring a lush soundscape of fuzzy, atmospheric guitars and more crashing cymbals. I’m one for a great outro, and Rats-Tails certainly deliver on this; blending delicate hispanic-sounding classical guitar, accompanied by harmonies and a gentle drum beat.

The lyrics deliver random bursts of imagery, with phrases like “TV license, Kanye West” but are personal to McMahon who has said that the track “recounts a tale of music after parties, covid delirium and grieving a family member”, whilst also noting “Coke in the 70s is a vignette of a very unlucky period in my life, yet it’s one of my favourite songs to play live”. This interplay between the upbeat and playful nature of the song and the darker subject matter offers a beautiful poignancy, and is a real strength of this sparkling track. 


Catch this single and more of what this exciting new band has to offer at their launch party at The George Tavern on the 14th October.

Ella Patenall
@ella_patenall

Photo Credit: Diego Hernandez

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LISTEN: Witch Weather – ‘Hazy’

Following on from their previous release ‘Don’t Need‘ – a brooding blend of grunge-infused riffs and punk attitude – Pennsylvania-based indie/punk/goth duo Witch Weather have shared their latest single ‘Hazy’. Taken from the band’s upcoming self-titled album which is set for release on 13th October, the track is a fuzzed up, buoyant reflection on seasonal mood changes and transient feelings of hopelessness.

Influenced by bands such as Siouxsie and The Banshees, Against Me!, Fugazi, Screaming Females and Depeche Mode, Witch Weather create “sad queer indie punk for your sad queer enjoyment.” Formed of guitarist & vocalist Kaitlynn Autumn and bassist & vocalist Juliann Frances, the duo work through feelings of confusion, frustration and self-loathing on their upcoming record, all aided by hefty guitar licks and rumbling bass lines. The lyrics on the album are also inspired by Kaitlynn’s experience of being a trans woman, learning to be confident in her identity and following her journey from “confused to closeted, to out and doing her best.”

On ‘Hazy’, the band reflect on feelings of self-hatred and the effects of seasonal depression, all underscored by Kaitlynn’s riffs, considered lyrics and Juliann’s thundering bass lines. “Hazy is a song meant for anyone who’s ever felt lost and directionless and maybe just doesn’t even quite want to be alive,” explains Kaitlynn in more detail. “The thought, ‘what am I doing here, how did I let myself get to this point’, was a pretty common one at the time that this song was written. Whether that thought be in reference to being at a truly awful job, stagnating in transition, or a whole host of other problems that were going on…”

“It was a challenge to write, but definitely something that was really rewarding and let us know that we were going in the right direction creatively. Lyrically it felt really cathartic to write as well, and is mostly in reference to a really tough ‘mental health relapse’ that happened over the winter. While that time is over now, the song still holds true and even as the writer, it keeps finding new ways to be relatable in day to day life.”

Listen to ‘Hazy’ below.

Follow Witch Weather on bandcamp, Spotify, Twitter, Facebook, Instagram & TikTok

Visit Witch Weather’s website here

Kate Crudgington
@KCBobCut

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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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