ALBUM: Big Joanie – ‘Sistahs’

A mix of the personal and political underscored by riotous rhythms and a sistah-hood ethos, DIY punks Big Joanie have released their highly anticipated debut album Sistahs today. Recorded at Hermitage Works Studio with producer Margo Broom and released via Thurston Moore & Eva Prinz’s new label The Daydream Library Series, Sistahs is a strong debut from a band who have been actively working on and off-stage within London’s DIY scene for years.

Together, Steph, Estella & Chardine have been busy running the Decolonise Fest for punks of colour, volunteering at Girls Rock Camp and leading the Stop Rainbow Racism campaign, which works to stop racist performances in LGBTQ venues. Their combined pro-active efforts have resulted in the creation of 11 songs that tackle issues of self-motivation, race, equality, and letting go of unhealthy relationships.

The pensive and highly relatable opening track ‘New Year’ brims with a quiet yearning to kick start something, to stop waiting. It’s followed by ‘Fall Asleep’ with its infectious bass lines and wicked guitar riffs. The introduction of electronics 1:44 minutes in is ultra cool, and was inspired by the likes of Joy Division and New Order (which is why Producer Margo added a wall of synths and drum beats.)

‘Used To Be Friends’ is an anthem everyone can sing with confidence with a sarcastic smile and no real sense of aggro – just the care-free attitude of someone who’s shed the skin of an unhealthy acquaintance. ‘Eyes’ is a cacophony of guitars, percussion and recorder. It’s one of the first songs guitarist Steph wrote aged nineteen, inspired by her disdain for “working a part-time job handing out over-priced artisan bread at Waitrose”.

‘Way Out’ is a wonderful, reverb-soaked, 90s-esque tune, whilst the brief ‘Down Down’ spirals along with its driving percussion for just shy of two minutes, before the surf-pop-style ‘Tell A Lie’ lifts listeners up again. Much like ‘Used To Be Friends’, ‘Token’ laments an unhealthy friendship, although this time it’s about the feeling of ‘tokenism’ experienced by people of colour when middle class white people decide to befriend them as a poor act of liberalism.

‘It’s You’ was born from a bad situation. After the lead singer from Steph’s first band (My Therapist Says Hot Damn) left just three days before their next gig – ‘It’s You’ was one of the many songs she had to write from scratch to play at the show. The penultimate ‘How Could You Love Me’ will have you swaying from side-to-side as it rings out in 60s girl group style, whilst closing track ‘Cut Your Hair’ is a vulnerable but optimistic ode to predicting a relationship is over before you or your partner are willing to admit it.

Despite their breezy, confident nature, the contexts of Big Joanie’s songs on Sistahs are powerful because the relay the struggles of everyday. Whether that’s having your mind turned to mush by a boring job, falling out with yourself, or others around you, they’re three women of colour talking about their life experiences to the backdrop of marching beats and punk-inspired riffs. That’s something the world needs plenty more of in our opinion.

Order your copy of Sistahs here. Follow Big Joanie on Facebook for more updates.

Kate Crudgington
@KCBobCut

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LIVE: Kiran Leonard @ Moth Club, 27.11.18

Arriving at the sparkling facade of the Moth Club just in time to catch the wonderful, string-strewn, punk-driven cacophony of POZI, I’m ready to be blown away by Manchester artist Kiran Leonard once again.

Opening with the first track from his new album Western Culture, ‘The Universe Knows No Smile’ immediately draws us into the whirring, twinkling splendour and multiple sonic elements of Leonard’s creations. Following, as does the album, with ‘Paralysed Force’, we bear witness to an immense raw emotion and impassioned majesty that casts us under Leonard’s spell in an instant. Angst-driven, yet dreamily euphoric; discordant, yet eerily beautiful; he wails, and he whispers, captivating the ears and not losing focus for a second. Showcasing his innovative song-writing skill with rich, multi-layered soundscapes and an epic intensity, Leonard continues to captivate as his soaring falsetto soars amid immense whirring hooks and mind-blowing, clattering cowbell-heavy beats.

Reflecting on the state of society with a spine-tingling poignancy, ‘Working People’ flows with intricate finger-picking and the distinct, visceral emotion of Leonard’s vocals, providing an utterly engrossing and lyrically rich offering, resonating with a subtle power. Continuing the run of album tracks, ‘An Easel’ (“ a song about power and responsibility…”) emanates a racing sense of urgency.

Interrupting the order of tracks from Western Culture, we’re treated to a “long song” from 2016’s Grapefruit. With fluid finger-picked hooks and swirling layers of sound, throughout ‘Don’t Make Friends With Good People’, Leonard blasts out immense shocks of energy interwoven with moments of quiet reflection, as frenzied beats are juxtaposed with an intricate musicality, building to create an utterly blissful cacophony. Continuing with another “old song”, and personal favourite, ‘Secret Police’ oozes its stirring anthemic grandeur and cinematic, goosebump-inducing power, leaving me as spellbound as the first time I heard it, back at Green Man Festival a few years back.

And back to the new album. Inspired by a conversation with a friend about stress, ‘Shuddering Instance’ races with scuzzy, discordant hooks and a gritty, seething passion before ‘Unreflective Life’ (“a song about selfies”) and ‘Suspension’ whirr with a raw ferocity.

Closing with ‘Geraldo’s Farm’, from 2013’s debut Bowler Hat Soup, a magnificent wall of sound of epic proportions is created, as each of the four band members offer their own intense sonic force, spiralling to a potent, dramatic climax to end the set.

And once again, Kiran Leonard has succeeded in taking my breath away. This being perhaps the fifth time I’ve seen him live, I was a little worried – as with any favourite – that this time wouldn’t be as impressive as the last, but I certainly had nothing to fear. A perfectly balanced set of songs new and old, Kiran Leonard and his band continue to offer something entirely unique and unforgettably poignant. The emotion and hypnotic sense of awe generated whilst watching Leonard live is unparalleled to any other performance I’ve seen. Although I have compared him to the likes of underrated ‘90s grunge outfit, Slint, in the past – and the similarities remain – it is safe to say that Kiran Leonard is truly one of a kind. And I can’t wait to hear where he might take our ears next.

Western Culture, the new album from Kiran Leonard, is out now.

Mari Lane
@marimindles

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Track Of The Day: Feral Five – ‘Pet Show’

Having previously wowed us with their unique, vibrant live show at The Finsbury, and recently supported Black Grape in Brighton, London/Kent based duo Feral Five are back to enchant our ears with new single ‘Pet Show’.

As a glitchy, other-worldly soundscape flows, ‘Pet Show’ is a wonderfully weird fusion of sounds, set in a world of illicit exotic creatures, working in underground bionic cat cafés and shady robo-companion bars. Pulsating with the deep, resonant vocals of front-woman Kat and an immense danceable beat, it’s a truly beguiling, yet slightly unnerving, work of forward-thinking art. With its whirring, electronic hooks and ethereal twinkling melodies, ‘Pet Show’ therefore showcases the duo’s innovative electro punk once again. Of the track, the band explain: “… it conjures up future subcultures and is inspired by developments in emotional AI and experimental beings, and the primal urge to party.”

 

With striking art work by leading anthro artist Strype, ‘Pet Show’ is out 7th December via Primitive Light Recordings.

Mari Lane
@marimindles

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Track Of The Day: Beckie Margaret – ‘New York’

“I’m glad if my songs help others cope. Telling my story is something that really gives me strength” explains Essex songwriter Beckie Margaret about her latest track, ‘New York’. Released via Cool Thing Records, her new single laments “the one that got away” in her trademark, heart-breaking style.

Beckie’s resilience in the face of heartbreak is what makes listening to her music so rewarding. Even in her seemingly weakest moments, her powerful, pure vocals provide an aching relief that can be felt all the way from the end of Southend Pier in her hometown, to the lonely shores of the city she sings about.

Beckie’s music has been captivating listeners on and off the airwaves, receiving support from Steve Lamacq at BBC 6 Music and John Kennedy at Radio X. However, the songwriter has a strong sense of where her latest single “fits”: “To me, it’s quite important that this track doesn’t fit in. I think the message of the song required something less contemporary than my previous songs. ‘New York’ was really painful to write and record, however, the painful expression of the song really became cathartic when I realised this awful thing I had been through, then stood as it’s own physical existence in a song. There was something strangely satisfying about that”.

Listen to ‘New York’ below, and follow Beckie Margaret on Facebook for more updates.

Photo Credit: Andrew Delaney

Kate Crudgington
@KCBobCut

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