Track Of The Day: Bugeye – ‘I’m Not The One’

Following the powerful disco-punk force of last single ‘Wake Up’, GIHE faves Bugeye are back with a brand new infectious offering. Having blown us away with their frenzied energy and impeccable beats live at The Finsbury, the Croydon trio return to wow our ears once more with new single ‘I’m Not The One’.

Filled with whirring hooks and the impassioned swooning vocals of front-woman Angela Martin, ‘I’m Not The One’ oozes shades of the catchy energy of Blondie, creating a sweeping slice of anthemic dark pop. Without losing any of the band’s vibrant, indie-disco zest, it also adds a more intimate and emotive touch to Bugeye’s trademark uplifting sound…

Of the track, Martin explains:

“… the song revisits, on a more personal note, taking care of my Mother in her final weeks of life in 2013 where diary notes that later influence the song state; I’m not the one that saves the day, I’m not the smart one that thinks of a cure, but maybe tonight I’ll think of something to ease the coming days to give you peace.”

 

‘I’m Not The One’ is out 13th April via Marwoo Records.

Mari Lane
@marmindles

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Track Of The Day: For Esmé – ‘For Others’

Dazzling synths and strong feminist beliefs combine on ‘For Others’, the latest single from Toronto-based For Esmé. The track negotiates the struggle between the “impossible things” women must contemplate whilst struggling to balance a career, a family, a romantic life and an honest expression of self-identity.

The project is fronted by multi-talented artist Martha Meredith and the new single is taken from For Esmé’s upcoming LP, Righteous Woman, set to be released on 25th May this year. The album was co-created with collaborator Dave Thiel and producer James Bunton (Donovan Woods, Too Attached) and mastered by Mandy Parnell (Bjork, Aphex Twin, Dirty Projectors).

Described as “a confrontation with self and the systems that shape us,” Righteous Woman was influenced by Meredith’s ongoing work with Toronto Women in Music, a network of female identifying musicians working to support one another and claim space in a male-dominated industry. With such vital foresight and passion, we’re sure For Esmé’s music is going to inspire other women to create their own sounds and opinions in music and beyond.

Watch the video for ‘For Others’ below and follow For Esmé on Facebook for more updates.

Kate Crudgington
@KCBobCut

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LIVE: L.A. Witch @ The Cluny, 30.03.18

The Cluny is a bar and venue based in an old bottling plant between the Quayside and the Byker Bridge, seated at the bottom of Stepney Bank. I hoped the first time I got to see L.A. Witch live that it would be in a place exactly like this one: a split-level venue with echoes of its city’s industrial past.

Fittingly, I almost caught their Rough Trade East show at the tail end of last year. Anyone who knows Brick Lane knows how much of the area reflects what was once there, celebrating rather than belittling it. As far as interconnectedness goes, my personal L.A. Witch narrative remains on par.

L.A. Witch is one of the most exciting, fresh bands to come out of the west coast in a long time. They mix the British dream of Venice Beach and Malibu with the dark and dirty truths that lurk in the underbelly of every seemingly perfect town, and the marriage of their lo-fi beer-soaked-cabaret-bar-floor tracks to a floor of kids desperate to escape the realities of life with a good time is one that will last forever.

Seeing L.A. Witch reminds me just what a great bassist can do. They remind me of what a great drummer can do and a guitarist whose captivatingly lilting voice takes a backseat to the music in the sense of it being a gorgeous backseat driver that ties it all together.

L.A Witch play together like they’ve been playing together since the womb, and a good camaraderie can stretch miles in a world of male bands trying to outdo each other. Their songs — their act — is one of togetherness, of one, of all.

They are, by all means, a coven, and it’s a coven of which I would like to be a part.

Em Burfitt
@fenderqueer

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EP: Sit Down – ‘Cheap Luxe’

Describing themselves as “halfway between Jack Black and Jack White,” Brighton duo Sit Down are a DIY force to be reckoned with. Formed in 2016 after temporarily living in New York City, guitarist & vocalist Greg Burns and drummer & vocalist Katie Oldham honed their punk ethos and admiration for strong rebellious women and created their knockout debut EP, Cheap Luxe.

Labelled by the band as “the lovechild of sin and substance,” the EP was self-produced between two bedrooms and released online at the end of March. Listeners will be cracking their knuckles in preparation for opening track ‘Mothership’, which provides a defiant, alien-invasion-inspired introduction to an onslaught of seething, seductive sound. Getting revenge sounds brutal and beautiful on second track ‘Bloodlust’, on which Katie leads the vocals and Greg welds more of his manic, menacing riffs.

The devious ‘Honeysucker’ rips through shortly after, demanding listeners attention with its primal drumming, filthy riffs and Greg & Katie’s dual vocals colliding in blood-lusting fashion. Closing track ‘Cheap Luxe’ is a searing, sassy attack on materialism with visceral reverb and pounding percussion that’ll have listeners reveling in the idea that the real high life is “living cheap as fuck!”

There’s no force on earth that will make you sit still – or indeed Sit Down – to this Goliath-sounding debut EP. Get up, get moving and get sweaty to Cheap Luxe. Fans of The Yeah Yeah Yeahs, The Kills & Deap Vally will definitely approve.

You can listen to/download Cheap Luxe on bandcamp here. Follow Sit Down on Facebook for more updates.

Photo Credit: Jessie Morgan

Kate Crudgington
@KCBobCut

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