NEW TRACK: afromerm – ‘held’

An elegant, eclectic soundscape that gently ruminates on the duality of emotion, London based, independent artist and producer afromerm has shared her latest single ‘held’. Formerly known as CIL, who we named as one of our ‘Ones To Watch‘ earlier this year, under her updated moniker afromerm is marking a ‘new era’ of her work, and ‘held’ is an ambient, poetic introduction to her fresh perspective and invigorated journey into sound.

We first saw afromerm live when she supported the equally talented Bristol-based artist t l k at The Jago in Dalston in March 2022. Her skills as a composer, poet and producer were deeply impressive. She manipulated sound via a motion-controlled synthesizer, and watching her gracefully move her hands around the idiosyncratic equipment was hypnotising. Since then, afromerm has collaborated with the esteemed NYX Drone Choir during a residency at the Southbank Centre and she has been busy working on new solo material.

Through her atmospheric electronics, minimal lyrics and sparse echoing beats, on ‘held’ afromerm has crafted a deeply soothing, evocative piece of art. Her soothing voice lilts over diverse soprano saxophone and alto flute sounds, performed by Buster Woodruff-Bryant and YUIS. “Your head, it’s been held / in sounds of joy / and I see, though you’re loved, you don’t feel it” she sings at the close of the track, tapping into conflicting feelings in such a gentle, measured way. Written, produced and mixed entirely by afromerm, ‘held’ showcases her enigmatic and instinctive talent to create such a strong sense of feeling with considered, seemingly effortless execution.

Listen to ‘held’ below.

 

Follow afromerm on bandcamp, Twitter, Facebook & Instagram

Kate Crudgington
@KCBobCut

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NEW TRACK: shaene – ‘sad’

A dreamy, melancholic rumination on a dark and complicated time, Leeds-based songwriter shaene has shared her latest single ‘sad’. Taken from her self-produced debut album, time lost / time regained, which is set for release on 1st September, the track is a reflection on the songwriter’s feelings of intense self doubt and alienation, filtered through a soft, shoegazey lens.

Having spent years writing and performing in multiple DIY bands across Yorkshire, shaene has been embedded in the Leeds DIY community for a number of years. She’s supported acts such as Lande Hekt and M(h)aol under her new moniker, but now she’s preparing to release her first full length solo record.

Starting life as a bedroom project during lockdown, before developing into a full band, shaene’s time lost / time regained is an album that’s inspired by her own experiences as a trans woman, her neurodivergency and the depth of emotions that surround these aspects of her life. Her new single ‘sad’ touches on these themes and gives listeners a poignant first hint at what the full album will sound like.

“‘sad’ is about being lodged in a deep depression, convinced that everybody would be better off without you around,” shaene explains. Her intimate, confessional lyrics are accompanied by considered, shimmering instrumentation that helps to ease the pain of the alienation that initially inspired the track. shaene’s willingness to share these thoughts is what makes her music so earnest and inspiring, and we look forward to hearing more from the songwriter in the lead up to her debut album release.

Listen to ‘sad’ below.

Follow shaene on bandcamp, Spotify & Instagram

Photo Credit: shaene

Kate Crudgington
@KCBobCut

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LISTEN: Lauren Auder – ‘the ripple’

Lifted from her highly anticipated debut album, the infinite spine, which she shared last week (21st July), ‘the ripple’ is a thrilling, tenacious alt-pop gem that showcases London-based, French-born musician Lauren Auder‘s distinctive artistic talent. Produced by Mura Masa – one of the few collaborators on the record outside of Auder’s immediate creative circle – the track is a cell-tingling exploration of self-autonomy which, much like its namesake, ripples with intense emotion.

Like many of the songs that form the infinite spine, ‘the ripple’ is a potent, pop-drenched exploration and celebration of discovering your true self, and what it’s like being a trans woman in a world that increasingly tries to deny trans women the right to exist on their own terms. Described as “the monkey’s paw of having your voice heard,” ‘the ripple’ is Auder’s rallying cry “to accept, to be duped / to not grimace at the absolute”, a message that she fully delivers via racing, distorted electronics and cathartic screams that permeate the track’s chorus.

During the four years that the album was written, Auder was haunted by the question “what if we could rewrite history?” By shifting her musical direction away from her shadowy, intentionally experimental previous creations, Auder embraces gritty-yet-glistening pop elements and glossy aesthetics to work through her emotions and experiences. “Pop music is meant to be experienced openly,” she declares, and this underscores her desire to live freely in musical and wider societal spheres.

Working alongside GIHE favourite Jessica Winter, Dviance and Alex Parish, the infinite spine is a captivating, superbly produced collection of tracks that form a powerful, pop-infused statement of independence for Auder, and we can’t get enough of it.

Listen to ‘the ripple’ below.

Follow Lauren Auder on bandcamp, Spotify, Instagram, Twitter & Facebook

Photo Credit: Crowns & Owls

Kate Crudgington
@KCBobCut

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LISTEN: Queen Cult – ‘Blackhole’

Queen Cult vocalist and guitarist Maisie Johnson describes the Macclesfield band’s new single ‘Blackhole‘ as a song she wrote to herself during a difficult time. Examining that period following a break up when you re-evaluate your life to figure out what it looks like without that other person’s influence, the titular blackhole is the dark place inside your own head when you struggle to stop overthinking and end up losing your sense of self.

It begins softly, with gentle chimes creating a drifting sensation, making you feel lost in an atmosphere of confusion. The signature Queen Cult guitar leaps in with a quicker tempo, but that initial feeling lingers beneath.

The lyrics acknowledge the pain of the person you normally turn to when you have difficult things to work through being the one person you can’t turn to now. They’re direct, but are delivered with depth, amplified by the strings roaring beneath them. It almost feels like a conversation as they echo the things you might hear from well-meaning friends trying to be comforting, but equally could be simply the platitudes you tell yourself to hurry up the healing process. They capture the internal conflict, jumping between “Tell myself I’m gonna be fine” and “Don’t tell me time will heal / Babe, I’m still allowed to feel”.

Despite being explicitly drawn from one particular experience, this track focuses so well on that internal personal introspection that it’s easy to project your own experiences onto; that period of readjustment is necessary, no matter how the relationship ended. Queen Cult have nailed that sweet spot where this song is simultaneously intensely personal and universally accessible.

‘Blackhole’ takes you on through the entire process of healing and growth, flowing between the different emotional stages – the loud, roaring confusion as you work out the new shape of your life. Both the tense impatience of wanting to be able to move on and the frustration at the entire situation juxtaposed with the softer moments that drift between sad reflection on the lost relationship and a hopeful, positive look towards the future. Finally, it reaches the upbeat sense of making progress and the feeling of relief and empowerment from things starting to make sense again.

Kirstie Summers
@ActuallyKurt

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