ALBUM: Bearcats – ‘No Friends’

Californian duo Bearcats have just released No Friends, their debut album of bass n drum sounds reflecting the ferociousness of their feminism and friendship in eight blistering tracks. It follows a couple of EP releases, split between US label Lost State and Frux Tapes in the UK, hearing them hone their sound and become a brilliant transatlantic addition to the growing movement of female-led punk-pop.

The album opens with ‘Sorry’, with hazy vocals over the sharp beat and warmly blended bass, the verse juxtaposes with the raw and over-lapped half-screamed half-shouted vocals of the breakneck chorus. This is a song weaving along the line of vulnerability and violence, circle pits to either side jostling the track between one state and the other.

The fuzzy loud-quiet dynamic, and layered vocals as opposed to harmonies, play throughout the album building a sound that comes across for the most part as being much bigger than a two-piece and nodding to others creating a full sound with a small line-up – the likes of Skinny Girl Diet, You Want Fox and Deap Vally.

Bearcats do bring in sparser moments across the record, gloriously so on ‘Okay’ where a simple drum line lets the bass hum through your veins, as the drawled vocal gives you the tough love of solidarity – “It’s hard to be a girl today, and it’s all okay” – as the melody blooms and backing vocals kick in and burn through you. A contender not just for album highlight, but as one of the tracks of the year too.


‘Sunday Boyfriend’
brings in the conversational-style call and response dance-floor bounce of The Shangri-Las and, as elsewhere, many of the lyrics reflect feminism, toxic masculinity and misogyny, as well as the phenomenal friendship at the heart of the band.

Mean Girls meets The Craft in ‘Girlcult’ as conforming for acceptance, and the rituals of female relationships bubble over surf punk rhythms. As “light as a feather, stiff as a board” is sung with increasing urgency, reflecting how thin the line between invite and threat can sometimes be, it implicitly brings to the fore the competition women are in with each other through the constructs around us.

The album closes with the deep buzz of the bass and the clashing of percussion of ‘Take Yr Time’, with more mixed vocals and loud-quiet fast-slow interplay. This track – and indeed the album – find strength in not being held together too tightly, nor too polished.

These songs have an urgency and immediacy about them which make for a self-assured debut of scuzzy garage pop bursting with the ethos of Riot Grrrl. If you’ve been digging Dream Wife, Skating Polly, Gurr or Dream Nails then Bearcats are a band you need to add to your playlist.

Bearcats’ No Friends is out now via Lost State Records and available now for download from Bandcamp.

Sarah Lay 
@sarahlay

Track Of The Day: Ailbhe Reddy – ‘The Tube’

Glistening pop hooks and soft vocals characterise Ailbhe Reddy’s latest track ‘The Tube’. The folk-pop artist from Dublin shines with her enigmatic, syrupy lyrics and innovative style.

The track’s smooth chorus, centred around the lyrics “Nothing I can say or do/say to you” in a cyclical, cynical manner, carries a glorious hook sure to capture any listener’s ears. Ailbhe explains:

“The Tube is a song about having no explanation good enough for someone, so the only thing I had left to offer was the small gesture of walking them to the nearest tube station…It’s a song about struggling to express yourself properly to someone, which I think is probably pretty universal.”

Since the release of her Hollowed Out Sea EP in 2016, Ailbhe has signed a publishing deal with London-based BDi Music, and has just finished a UK tour. ‘The Tube’ is sure to cement her on the folk-pop scene with its subtle, emotion-strewn power. 

‘The Tube’ is out now.

Erin Bashford

 

LIVE: Japanese Breakfast @ EBGBS, 31.10.17

Of all the gigs on the roster at Liverpool Music Week this year, Japanese Breakfast‘s was the one that stood out. So, on Halloween night, with the place festooned with cobwebs and a bloke on the door dressed as a zombie, we ventured downstairs to the underground cave that is EBGBs to find out more, with more than a little trepidation.

But we needn’t have worried. The first performer we caught was singer-songwriter Mary Miller, armed with an electric guitar, a sequencer and a laptop. As that setup suggests, the initial few songs are chill-wave numbers, very much in the vein of The XX. Melancholic and echoey waves of guitar are picked out over synthetic clicks and hums, with Mary’s soulful voice over the top. But later, the set is stripped back to leave just the guitar and voice, as a folksy and bluesy sound comes through. It’s startlingly good.

St. Jude the Obscure are rather better known than their name would suggest, so there’s already a substantial crowd for their appearance. Officially a duo – Adele Emmas on vocals and keyboards and Christian Sandford on guitar and keyboards – the pair play live with additional musicians to flesh out their sound. In so doing, they manage to create layers of cinematic, shimmering layers of dream pop. With strands of effect-laden guitar building around Adele’s voice, the sound has aspects of Arcade Fire’s tunesmithery and Kate Bush’s vocal style.

And so to Japanese Breakfast. The solo sideline of Little Big League’s Michelle Zauner, the name designed to conjure up images of “Asian exoticism and American culture”. The above may offer the daunting prospect of something pretentious and conceptual, but in truth Japanese Breakfast are the the most fun act of the night – and many other nights. A bouncy, ’90s pop-rock vibe, as psychy sounds dominate the early portion of the set, reminiscent of Echobelly.

Zauner is a livewire on stage, almost constantly pogoing and, at one stage, balancing on the bass drum to play a guitar solo. Her stage-presence makes the venue feel twice the size and her jokes about “goats that sound like Oprah” keep the crowd as entertained as her music. Later songs in the set veer towards Sugarcubes-era Björk and The Cure. They’re almost like prom night ballads in their flinty pop sound, but are also haunting and brittle, even as they sparkle. Halloween night ends on a high, with all our fears abated.

John McGovern
@etinsuburbiaego

ALBUM: REWS – ‘Pyro’

Like the phoenix that rises from the ashes of its own flames, rock duo REWS take the remnants of loves old and new and turn them into tunes that blaze with fun and furious style. Their debut album Pyro, released via Marshall Records, brims with an incredibly dark an delightful energy and it’s setting our cells alight in all the right ways.

The record opens with a rockier reversion of the joyful ‘Let It Roll’, showcasing guitarist Shauna & drummer Collette’s divine dual vocals against a backdrop if gritty guitar. It bleeds perfectly in to ‘Rip Up My Heart’, a heavy lament to the heartache caused by a failed relationship – and a musical remedy for it too.

‘Violins’ is an apathetic but energetic track with a chorus which demonstrates Shauna’s ability to hit the higher notes as well as unleashing hair-raising screams with her powerful lungs. It precedes recent single ‘Shine’, which is glittery and gloriously heavy (like the accompanying music video) and a clear highlight on the record. ‘Death Yawn’ – written about a weird guy who kept staring at Shauna at a hostel during breakfast – is a poppier offering, but it’s drenched in REWS’ trademark infectious melodies and dancing beats.

‘Miss You In The Dark’ is the anthem every girl should listen to post-breakup, with standout percussion from Collette and more of Shauna’s powerhouse vocals which dominate the record. ‘Your Tears’ is a superb follow-up, and it’s a track that refuses to acknowledge “the boy who cried wolf” with it’s swaggering guitar and thrashing drums.

‘We Explode’ leaves its mark, with it’s scorching chorus and lyrics that drip with desire, whilst penultimate track ‘Shake Shake’ will have you shimmying away the bad memories. ‘Running Up Against The Wall’ closes the record, with melodic keys and a sense of uncertainty that listeners will easily relate to. Pyro is proof that the REWS girls take everything in their stride, and they should take great pride in this record which perfectly showcases their musical potential.

Kate Crudgington
@KCBobCut