LISTEN: BLÓM – ‘Meat’

A cathartic, riotous exploration of objectification and self autonomy; BLÓM‘s latest track ‘Meat’ is a raging cacophony of distorted guitars, vicious vocals and relentless percussion. Lifted from their album Flower Violence, which is set for release on 1st May via Box Records, the track is accompanied by a striking set of visuals, directed by Stuart Walkinshaw.

Self-described as “three qt punks playing pure radge shit; with female, trans and non binary members”, BLÓM are known for their blistering tunes that tackle inequality, and explore issues surrounding mental health and gender identity. On ‘Meat’, the band – along with Walkinshaw’s guidance – have taken live recordings of the song and mixed and mastered it to full fury levels for their upcoming album.

Watch the video for ‘Meat’ below, and follow BLÓM on Facebook & Spotify for more updates.

Kate Crudgington
@KCBobCut

Kate CrudgingtonLeave a comment

Track Of The Day: ZAMILSKA – ‘Prologue (Live)’

After the release of her third album Uncovered in 2019, Polish producer & electronic musician ZAMILSKA toured across Europe and the UK, bringing her dense industrial-techno beats to live audiences. After these shows, one thing became clear to her; her fans were desperate to know the name of the “intro” track she opened her set with. Now, ZAMILSKA has kindly shared a live recording of the track, titled ‘Prologue Live’, and it’s brimming with her usual pounding beats, sporadic synths, and jagged electronics.

ZAMILSKA explains in detail why she chose to share this new offering: “They say that “it’s not how you start that’s important but how you finish”. However, this does not apply to live shows, in that instance the entire setlist is important. During the Uncovered live shows, I’ve opened with an intro, especially created to open each gig with a bang. Many of you asked “Which track was that? Where can I find it?”. Until now, it was only something I’ve played live. To show gratitude to all who came to see these shows, I’ve decided to release and share with you a version of ‘Prologue’, recorded live. Let this be a memento. Something to start your day, open a new chapter, accompany during new undertakings. If you want to make an impact you don’t tap dance beforehand.”

ZAMILSKA’s stomping beats have certainly made an impact on us. Listen to ‘Prologue Live’ below, and follow ZAMILSKA on Facebook & Spotify for more updates.

Kate Crudgington
@KCBobCut

Kate CrudgingtonLeave a comment

Track Of The Day: Suzie Stapleton – ‘Blood On The Windscreen’

The city of Brighton has played host to a number of DIY creatives over the years with Australian artist Suzie Stapleton being no exception to this tradition, as she returns with self-produced single ‘Blood On The Windscreen’.

Razor sharp riffs plunge us head-first into the track as Stapleton’s husky vocals demand our fullest attention. It seems dramatically prophetic that the single is lifted from her upcoming album We Are the Plague which is due for release this June. Stapleton confesses:

“I had a meeting with a photographer early January to discuss the artwork for We Are the Plague. I joked ‘I hope a pandemic doesn’t sweep across the world before the album release… About a week later Coronavirus started to hit the headlines.”

Whether it’s due to self-isolation or the single’s own darker undertones of the blues, ‘Blood On The Windscreen’ succeeds in fully immersing us into our own headspace while simultaneously serving a stark reminder of the wider world. Although currently it is difficult to predict our lives from one day to the next, one saving grace is that Suzie Stapleton has promised us that, as long as she has WiFi, we will have an album.

Watch the video for ‘Blood On The Windscreen’ here:

‘Blood On The Windscreen’ is out now. Listen on Spotify and Soundcloud.

Nicky Lee-Delisle
@Nicky___Lee

Get In Her EarsLeave a comment

EP: Yakima – ‘Go Virtually’

Sharpening their steadily developing woozy, lo-fi sound, Glasgow quartet Yakima are set to bring their debut EP Go Virtually into the world on 3rd April. Drawing influence from their love for melodic expression and frenzied sonics, the record flits across boundaries of reality and imagination with its hazy, warm presentation.

Written and recorded in the unusual setting of a drafty gatehouse next to a nearby castle – with a ceiling made entirely of spider webs – the EP lends its echoey feel across six tracks. With production coming from Benji Compston and Jon EE Allan of acclaimed band, Happyness, the quartet’s debut record showcases an array of sounds that vary from upbeat and rock-tinged, to fragile and quiet.

Groovy, upbeat opener ‘It Helped’ establishes the observational lyricism that the band lean towards; looking the uncomfortable reality and battle of quitting smoking right in the eye. Following track ‘Judy’s Lament’ is rooted in the experience of reading about Judy Garland’s insomnia. Eventually turned in to a song about Garland’s imagined feelings about the lack of sleep, it’s a soothing lullaby that stands out as an early highlight for its smooth, quiet vocals.

‘Thanks’ makes way for a sudden spike in energy with it’s guitar-led sonics and melodic vocals, with the wild cut of ‘I’m Happy (In No Way)’ making room for the second high point on the EP, before IT loses itself in the chaotic, improvised outro of ‘Real Time’. Closing track ‘Sheep Boy, Cry Man’ (the title of which draws inspiration from “Cry Rooms” in Japan, where occupants go to relieve stress) is the most somber offering on Go Virtually.

Toying with vocal harmonies and earworm melodies, Yakima’s debut EP is an analytical creation that looks into the complex relationship between what’s right in front of you and what’s in your mind. Influenced by the likes of The Byrds, Elliott Smith, The Beach Boys, Sparklehorse, Low and Duster among so many others, the band still manage to shine with an authentic exuberance that can only be their own.

Yakima’s EP Go Virtually is released on 3rd April. Follow the band on Facebook and Spotify for more updates.

Malvika Padin
@malvika_padin26

Get In Her EarsLeave a comment