ALBUM: Neev – ‘How Things Tie In Knots’

Scottish-born, London-based indie-folk artist Neev has been making her mark on the UK’s indie-folk scene with her intricate storytelling and evocative vocals. Her upcoming second album, How Things Tie in Knots, explores the complexities of identity, heritage, and self-discovery through a rich, cinematic soundscape.

How Things Tie in Knots is an album of contrasts – tradition vs. progression, restraint vs. release, softness vs. intensity. Neev navigates these tensions with poetic lyricism, crafting an album that feels both personal and universal. Thematically, the album delves into the push and pull between letting go and holding on, the weight of expectations, and the nuances of self-acceptance.

Produced by an all-female team; engineered by Taylor Pollock (Cosmorat), mixed by Fi Roberts, and mastered by Izzy McPhee, the album is both expansive and intimate. With backing from Arts Council England, Neev’s vision is further enhanced by Brighton-based artist Rebecca Brandler’s individual paintings for each track, reinforcing the album’s rich aesthetic.

Drawing influence from Scottish folk traditions, blues, and alternative indie production, Neev’s work evokes artists like Weyes Blood, Agnes Obel, and Julien Baker, resulting in an album that is lush, warm and textured. The opening tracks are delicate and folk-tinged, combining gentle piano lilts with airy, melodic vocals. ‘I Put It in the Frame‘ is particularly catchy, bursting with rhythmic energy, big drums, and electric guitars, but it’s ‘He Built Himself’ that marks a sonic shift, introducing a darker, more urgent energy. From this point on, the album gradually expands its sound, moving into deeper, more dynamic territory.

‘My Own Back’ leans into bluesy grit with a Hammond organ-esque sound, violin, and layered harmonies, while ‘Keep Low’ carries a brooding urgency, driven by a cool electric guitar that adds raw energy. ‘A Sad Tightrope’ is the most melancholic track, its slow pacing and rich harmonies drawing the listener to contemplate.

How Things Tie In Knots is, overall, a really bold, polished body of work. With its sweeping arrangements, storytelling, and striking honesty, Neev cements herself as one of the most compelling voices in contemporary indie-folk.

How Things Tie In Knots, the upcoming second album from Neev, is released tomorrow – 28th March – via Trapped Animal Records. Pre-order here. And, following a gorgeous night at The Lexington last week, Neev will be celebrating it’s release with a special gig at The Folklore Rooms in Brighton on Saturday 29th March. Tickets here.

Ella Patenall
@ella_patenall

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LIVE: Julien Baker – Earth, Hackney (19.11.2024)

A bitterly cold and wet Tuesday night in November; what better time to venture alone to immerse myself in some beautiful, emotion-filled live music… ? My first time at Earth in Dalston, I feel grateful to be able to see three such esteemed artists in this deceptively intimate space. 

After queuing in the rain for a while, I arrive in time to catch most of GIHE fave Katie Malco’s opening set. Reflecting on her recent US tour with Soak and her failings at booking appropriate / warm / safe accommodation, as well as all her gear going up in flames in a rehearsal space earlier this year, it seems she’s had a bit of a bad run of it lately, but this is no way takes away from her engaging charisma and charm as she delivers her captivating indie-folk ballads. Playing alone without a band, she still manages to create a rich scuzzy splendour and immersive gentle emotion with the sparkling heartfelt grace of songs like ‘Brooklyn’ and ‘Babette’ – the latter of which she normally sings alongside Soak, who is due on stage shortly. 

Touching on themes of self-discovery, queer identity and the housing crisis, Irish artist Soak delivers a set of new songs; each glistening with a stirring raw emotion. As their distinctive vocals float alongside lilting melodies, each offering tugs at the heartstrings with an achingly beautiful sense of nostalgia. Grateful I finally got to witness their delicately impassioned sounds live, I’m also left intrigued to hear more about the time that they were backstage on tour with Katie Malco and someone was “playing a saw like a violin and singing ‘Wonderwall’”… 

I’m not sure how I really expected to feel seeing Julien Baker live for the first time. An artist who I’ve listened to – and sought comfort in – probably almost every day for the last few years, my expectations and emotions were running pretty high. Amongst a crowd of predominantly young people accompanied by their parents, I wonder if it’s normal for a woman of my age to feel this much resonance with the music of someone like Baker, but as soon as she takes to the stage (beginning the set with my most favourite song), all worries cease and I’m instantly reassured. When music moves you this much, what does age matter? I’m a 38 year old queer woman and I need this beautiful aural catharsis in my life. As the swirling crescendo of piano and guitar soars throughout ‘Appointments’ alongside the melancholy raw emotion of Baker’s vocals, I feel my heart gently shatter and tears start to dampen my cheeks. But I also feel an unexpected sense of calm; a comfort in the relatability of the feeling and meaning behind the song – an unspoken sense of unity with the other damp cheeks I see glistening around me. And that is the beauty of music this honest and powerful; however old or young you may be, you can find comfort in what it has to say. 

Continuing to completely captivate the crowd with songs spanning her career, including the quiet desperation of 2019’s ‘Red Door’ and shimmering splendour of 2021’s ‘Relative Fiction’, Baker succeeds in immersing us fully. Although her anxiety is evident between songs – “Sometimes I get really nervous and can’t see my fretboard” -, when she’s delivering each heartfelt offering, her focus seems entirely intact, the raw emotive power of her vocals never faltering. And despite describing the experience as “like a stress dream”, I feel far from stressed at being able to bear witness to such exquisite musicality and refreshingly honest lyricism. In fact, I think there’s a subtle empowering strength to exposing one’s vulnerability through the stark emotion that emanates from each and every song. 

From crowd favourites like 2017’s ‘Shadowboxing’ to the glitchy whirring soundscapes of 2019’s ‘Tokyo’, each resonant lyric ripples with an effervescent grace. From the heartbreaking personal introspection of ‘Sprained Ankle’ to the fizzing lilting energy of ‘Bloodshot’, each sparkling melody gently takes hold, leaving 14 and 38-year-olds alike equally spellbound. 

Whether playing with or without her excellent full band, Baker succeeds in creating a soaring majestic splendour; a swirling raw emotion that envelopes her audience, offering a comforting catharsis. Having to leave the venue a few minutes early to catch a train, I realise it feels almost like leaving a therapy session; feelings have been shared, tears have been shed – I feel understood, I feel lighter. So, thank you Julien Baker for opening up to us, for creating music that is so honest and relatable; so soothing and empowering. So damn beautiful.

Words: Mari Lane / @mari_getinherears
Photos: Abi Chilton / @abi.chilton

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WATCH: Roller Derby – ‘Emily’s Dance’

Hamburg-based dream pop duo Roller Derby have released their latest single, ‘Emily’s Dance’. This is the fourth single from their much-anticipated debut album, which is set for release early next year. Following performances at Reeperbahn Festival, SXSW, and opening for German band Madsen, the duo have cemented their reputation as a consistent and distinct force in the dream pop genre, earning airplay from Radio X’s John Kennedy and Amazing Radio’s Charlie Ashcroft.

Accompanied by a vibrant and engaging masterpiece of an animated video crafted by Johannes Walenta, ‘Emily’s Dance’ reflects the duo’s signature style: blending dreamy, contemporary influences with nostalgic ’80s vibes. The song opens with luscious synth-driven melodies supported with softly delivered vocals, adding a layer of melancholia and vulnerability; complemented by delicately dreamy guitar riffs. Subtle changes in dynamics and texture keep the song engaging, with swirling melodies, funk-fuelled basslines, and floating guitar licks that dance over the track’s rich layers.

Produced by Moses Schneider, the production feels polished and satisfying, balancing stripped-back verses with expansive choruses, which are marked by thick vocal harmonies, enveloping the listener in a lush warmth.

Lyrically, ‘Emily’s Dance’ is an introspective exploration of time, space, and human connection. The track delves into themes of insignificance and loneliness in this vast universe. Yet it offers a glimmer of hope — that “one day the planets will align” to bring harmony. It reflects a common human struggle, of existentialism and our yearning for meaning and companionship.

With their signature nostalgic sound, Roller Derby continue to captivate and I look forward to what their album has to offer.



When The Night Comes, the upcoming debut album from Roller Derby, is due for release on 28th February 2025. And you can catch the duo live when they’re over in the UK for a small run of live dates in May, including at The Lexington in London on 9th May – tickets and info here.

Ella Patenall
@ella_patenall

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LIVE: Kae Tempest – Pitchfork Festival, KOKO Camden (05.11.2024)

Whilst other people were out in the cold watching explosions in the sky, on the evening of Tuesday 5th November I was lucky enough to be inside the warmth of legendary Camden venue KOKO having my mind blown and my heart set alight by the incredible Kae Tempest, who delivered a performance that was brighter and more powerful than any firework. 

A night of live music forming part of London’s Pitchfork Music Festival, I arrive in time to catch an uplifting set from Sam Morton. Oozing a soulful ethereal splendour, the actress-turned-musician delivers stirring genre-defying soundscapes, fusing together elements of jazz, reggae and electro, each rippling with a glitchy immersive allure.

Sharing that the last time they were here was fifteen years ago on their dad’s 60th birthday, Kae Tempest takes to the stage and instantly I sense a shift in their presence, a change from the other times I’ve seen them live over the years; a subtle, genuine joy and sense of ease emanates. And, before they have even said any more, it’s clear how much it means to them to be able to be here, to be able to be truly themselves, and share that with us. “This feels really special”, they say before they give a short introduction to the set, explaining that they’re going to be performing songs from the last ten years, and not be talking between songs “because that cringes me out.” Beaming as the crowd laughs and cheers, Tempest seems to be soaking up every moment: “Nothing stays still, it’s always in transition. But I still have the same feeling in my heart to connect.” And so begins 75 of the most fiercely moving, cathartic and joyous minutes; every single second pulsating with resonance and pride.  

Kicking off with ‘Tunnel Vision’, the closing track from 2016’s Let Them Eat Chaos, Tempest immediately casts their immersive spell over a completely captivated audience; the poignant and stirring social commentary of their poetic lyricism hitting more profoundly than ever before. As the glitchy energy of The Line Is A Curve’s ‘Salt Coast’ is accompanied by glistening visuals, it’s hard not to fall into a strangely comforting hypnotic state, transfixed by the sparkling resonance of the subtle emotive power rippling from the stage, which is only further amplified by the fierce joy that radiates throughout 2023’s ‘Love Harder’ – “… Correcting my pronouns to they/them, but he/him is also pretty fucking cool!” 

This powerful euphoria fizzes throughout the whole performance; the immense cathartic sense of relief Tempest feels at being able to be themselves and the resulting heightened confidence is so wonderfully evident, and the happiness they feel resonates into the crowd, creating a unified queer joy and empowering sense of hope. 

Flowing through a couple more tracks from their 2022 album, Kae Tempest’s glaringly honest and completely relevant social commentary is showcased with heartwarming clarity as the prowess of their band provides a beautifully enchanting musical backdrop for their stirring narratives. Then, following the sparkling romanticism and raw emotion of 2019’s ‘Firesmoke’, we’re lucky enough to be treated to two brand new songs. With one song featuring a recording of Tempest at 17, and another with an all-too poignant refrain – “… They used to tell their children not to stare, but when I’m dead they’ll put my statue in the square…”  – a stark awareness of the injustices of society and the struggles that they have dealt with throughout their life simmers under the surface of their fierce empowering energy and gloriously discernible love for themselves. 

And I feel honoured to be here, to be sharing this experience with Kae Tempest; for them to feel able to be so open and honest with us. Going on to explain how they have always had a complex relationship with the stage, and how they used to feel deeply uncomfortable, it really is wonderful to hear that it doesn’t feel like that anymore. To see it too; the exuberant, blissful trans joy that shimmers without hesitation. 

Tempest closes the set with ‘People’s Faces’. A track I’ve seen live many times before, its hopeful celebration of the happiness and comfort that can be found in others has brought me to tears every time, but it seems more exquisitely on-point than ever tonight; the line “there is so much peace to be found in people’s faces” striking with a new-found optimism, as there really does seem to have been such a warm sense of peace emanating from Kae’s face throughout the whole performance. 

Despite assuring us that they think that “false exits are manipulative”, Tempest returns for a little encore, much to the ecstatic relief of the crowd. After a moment of vulnerable reflection sharing their poem ‘Hold Your Own’, they leave us with the uplifting message “If you take away one feeling from tonight, let it be delight”, urging us to focus on the ways that we’re all connected. And that is certainly what I come away feeling; a sheer sense of delight at the joy I have witnessed. An empowering and unifying queer energy and subtle sense of hope that through coming together as a community we can find happiness and strength. Thank you Kae Tempest for sharing your journey with us; for being you, and for giving us this hope that is so needed right now. 

Mari Lane / @mari_getinherears

Photo Credit: Kimberley Ross

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