EP: Hanya – ‘I Used To Love You, Now I Don’t’

Demonic and dangerous, sorrowful and tormented; such are said to be the properties of the Japanese mask after which Hanya name themselves. It too, makes a pretty good description of this first EP from the Brighton two-piece.

The mix of sounds created by the pair – originally the solo project of Heather Sheret before being joined by drummer Jack Watkins – has grown over time and through the course of I Used To Love You, Now I Don’t mixes together a range of ‘90s influences from shoegaze to Britpop, while remaining fresh.

Opening with the simple, if awkward, strum and percussive shimmer of ‘Old/New’ over four minutes the track builds through layers of reverb-laden vocal, and guitar riffs that begin as Britpop chimes and twist into shoegaze distortion.

‘Radio’ is a glowing ember of a track, drifting upwards into the endless dark, turning slowly and filling you with ominous gloom. Sheret’s vocals are a honey laced with vinegar as the soft drawl becomes sharp yowl. Of the track Sheret has explained: “‘Radio’ was written at a time of big stomach churning foreboding for me. It reflects thinking that something external can help at a time like that, like moving somewhere new, meeting someone, stupid vices, anything that we reach out for to give us some feeling that shitty times can be fixed.”

 

In this track are the real echoes of shoegaze as spiralling riffs conjure forth Mazzy Star and Slowdive. You spiral with it, sinking into its depths, but it lacks the awe of those influences – something made up for on ‘Honey’.

This starts off the same way, the gloop and gloom pulls you in but rather than cycling this way throughout, Watkins drumming picks up part way through; a percussive foil for that soft-echoing vocal, pinning down the bolshier guitar.

Closer ‘Trust Fund Baby’ steps away in tone being a far more upbeat number, closer to Salad and Sounds From The City era PJ Harvey. It rattles along with more jangle than distortion, with a bite in the lyric as much as a shimmer to the percussion.

Hanya build a sound which belies their two-piece set up and as a debut I Used To Love You, Now I Don’t is full of promise; an understated addition to established genres.

I Used To Love You, Now I Don’t is out now via Leisure Records. Listen here. And make sure you catch Hanya live for us at The Finsbury on 14th December, along with Fightmilk, Handsome Eric and Candy Cane!

Sarah Lay
@sarahlay

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Track Of The Day: The Velveteers – ‘Anastasia Sings’

Having first fallen for Colorado fuzz-rockers The Velveteers seeing them support faves Deap Vally a couple of years back, they’ve since released their acclaimed EP earlier this year and finished their biggest UK tour to date. And now they’ve blasted back into our ears with new single ‘Anastasia Sings’.

A cinematic, psych-filled offering filled with immense scuzz-filled hooks, ‘Anastasia Sings’ is an instantly infectious slice of gritty, blues-filled garage rock. With driving double drum beats courtesy of John Demitro and Adrian Pottersmith, plus the spectacular soaring vocals of front woman Demi Demitro, the sweeping power of this new single marks The Velveteers out as definite ones to watch. 

Watch the horror-fuelled nightmare-scape of the new video for ‘Anastasia Sings’ here:

Mari Lane
@marimindles

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ALBUM: Sara Forslund – ‘Summer Is Like A Swallow’

The second album from Swedish songwriter Sara Forslund may have been three years in the making but musically it picks up from her debut Water Became Wild. Bringing together sparse arrangements and natural sounds, as well as co-production from John Wood (Nico, Nick Drake, Pink Floyd) Summer Is Like A Swallow is folk noir perfect for dark days and long nights.

Opening with the soft turn of waves beneath a gently picked guitar line the soft-vocal drifts through the nature imagery on ‘River of Dreams’. A familiar poetic lyrical style builds the sense of space, the vast landscapes of Forslund’s surroundings and the caverns of emotion we hold inside.

It is this dream-like way of exploring the intimate, of reflecting introspection in the expanse of the environment which was so well done on the debut, and here is rendered with growing confidence and curiosity around how to shape sound. The mix of electronic and more traditional instrumentation, as well as the tiny but present descriptors of her kitchen table recording set up (rain against window here, a creaking chair there) add a warmth to an album with many cool tones and nod to an artist embracing a DIY aesthetic by choice as much as need.

Title track ‘Summer is Like a Swallow’ remains gauzy and with a lyrical wistfulness, a reserved melancholy for the time passing. As imagery seagulls may not immediately spring to mind as birds of grace and freedom (perhaps – like most things – the domestic type is more uncouth than its continental counterpart) but in ’Seagull’, as the melody soars, there’s a rare but powerful romanticism conjured.

‘Hard’ is the highlight of the album – a more rounded sound and conviction strengthening the vocal. Here the rhythmic call of birds becomes part of the rhythm, and the magic and mystery found in nature and that which is created through music is bound tighter again. ‘Gone’ brings with it the feel of Both Sides Now Joni Mitchell while closer ‘Toad’ is a seven minute opus of overlapping melody; soft picking and lullaby refrains, gentle harmonies and again those nature sounds woven into the song and reflecting the lyrics.

Wearing its vulnerabilities openly and with a stark, unflinching honesty lyrically and a sparse take on folk in its sound Summer Is Like A Swallow repeats the themes and sounds of predecessor Water Became Wild, and like that record is an understated (and likely underrated) triumph for Forslund.

With echoes of Joni Mitchell, Vashti Bunyan and Marissa Nadler, this is an album you can sink into, cosseted by the intricacies and soft layers, as you become comfortable with your uncomfortable parts.

Find out more about Sara Forslund on her website now.

Sarah Lay
@sarahlay

 

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Track Of The Day: Eckoes – ‘Without Prejudice’

London based artist, and particular GIHE fave, ECKOES follows beguiling ‘Blue Deep’ and ‘Black And Red’ with a brand new offering.

As glitchy, throbbing beats and glistening hooks flow alongside her deep, resonant vocals, ‘Without Prejudice’ is a completely spellbinding slice of emotive alt-pop. With her magnificent, empowering passions, ECKOES oozes a delicate, haunting grace, creating a truly bewitching soundscape.

 Of the track, ECKOES explains: “‘Without Prejudice’ is the sobering realisation of inevitable, imminent loss. Looking at where you’re standing and knowing that it’s impossible to stay here any longer. Then looking out into the void in front of you and wondering how you’re going to do this. Again.”

Watch the hypnotic new video for ‘Without Prejudice’ here:

Mari Lane
@marimindles

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