Reviews – Page 65 – Get In Her Ears

Track Of The Day: Stainwasher – ‘See Thee’

A bittersweet, ambient soundscape inspired by the need to push through seemingly immovable barriers, Swedish songwriter Stainwasher has re-released her single ‘See Thee’. Taken from her debut album The Outer Layer, which she shared earlier this month, the track is a dreamy blend of soft vocals, atmospheric reverb and poetic lyrics that tenderly explore what it feels like to re-frame your thinking.

“I wrote ‘See Thee’ a few years ago, but I was never pleased with the production until this year, and it was such a nice feeling to finally release it,” Stainwasher explains. “An old version of it was actually my most liked song on SoundCloud, however I always felt thought it needed more. The lyrics refer to obstacles that I felt held me back in life, and when I wrote it a couple of years ago, I thought it was me who created these obstacles. Now, I know that they didn’t have to be obstacles at all, only circumstances.”

Acknowledging this growth and slowly building up her emotional resilience helped Stainwasher to shape the sounds that form her debut album. On The Outer Layer, she contrasts her darker emotions with bright, ambient electronics and dreamy reverb, soothing listeners with her elusive, lullaby-esque vocal throughout the record.

“I would say most of the songs are more lo-fi and a bit rawer than before, if you can call something that has a thousand tons of reverb raw,” Stainwasher comments about her new record. “I’ve been listening to a lot of slowcore and some Doom music in recent years, which you probably can tell. I have woven some irony into the lyrics which made me giggle like a creep in my little home studio too.”

Stainwasher’s ability to tap into her “creepy” thoughts and transform them into beguiling, cinematic sounds is what makes listening to her music so enjoyable. On ‘See Thee’ and with her debut album, she continues to showcase her talent as an emerging electronic artist.

Listen to ‘See Thee’ below.

Follow Stainwasher on bandcamp, Spotify, Twitter, Instagram & Facebook

Kate Crudgington
@KCBobCut

October 25, 2022November 4, 2022

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LIVE: Alvvays @ Islington Assembly Hall, 07.10.22

A rainy Friday night in North London and what better way to soothe our dampened spirits than with some shimmering surf-pop sounds…

Thankfully, we arrive at the springy-floored Islington Assembly Hall in time to catch support act Lande Hekt. Though you may know her from her band Muncie Girls, her debut solo album, Going To Hell, was one of my favourites of last year and live, her songs are no less special. Starting off with a few captivating solo offerings, Hekt treats us to beautifully heartfelt songs covering themes ranging from the struggles of coming out, to comforting times with her cat Lola. With a lilting musicality and stirring, luscious vocals, she kicks off our evening with a collection of shimmering soundscapes, all delivered with a raw emotion.

Having been a huge fan of Canadian band Alvvays since falling in love with their self-titled debut album upon its release in 2014, I’m not quite sure why I’ve not yet seen them live, and so it’s with an apprehensive excitement that I await their arrival to the stage – that feeling of having waited so long for something, that you can’t help but worry that it won’t live up to your high expectations…

However, I’m soon to be proved wrong as Molly Rankin and co. take to the stage amidst a sea of adoring cheers filling the packed out venue (it’s the most busy I’ve ever experienced it and I’m a little miffed about being stuck behind one of the tallest people I’ve ever seen, but I’ll try not to dwell on that…). As they kick off the set with the dreamy musicality of second album Antisocialites‘ opening track ‘In Undertow’, I’m instantly immersed in the sparkling splendour of Alvvays’ trademark swirling surf-pop energy. And I feel very lucky to witness the band’s shiny new line-up (with the addition Sheridan Riley and Abbey Blackwell now forming the seamless rhythm section) first hand.

Introducing themselves, Rankin oozes an infectious sense of excitement as she tells us that today is the day of release for their brand new album, Blue Rev, and informs us that the set will consist of some newer songs from the record, as well as “some oldies – gotta include those crowd pleasers too!” before diving into one of said new tracks, ‘Very Online Guy’. With a more synth-driven sound than previous offerings, it fizzes with a whirring energy alongside Rankin’s rippling crystalline vocals.

And from new to old as the band flow smoothly into the first track from their 2014 debut, ‘Adult Diversion’. Propelled by lilting hooks and a buoyant, uplifting energy, the large crowd sway along with a joyous sense of unity to Rankin’s luscious vocal tones, as the raw power of Riley’s thrashing beats shines through. Twinkling with a whimsical allure, ‘Plimsoll Punks’ proves to be another crowd favourite before perhaps the band’s most famous song ‘Archie Marry Me’ sees each and every one of us sing along to each and every word, and I find myself getting quite emotional; the track’s dreamy grace and twinkling romanticism holding a special place in my heart (it was even featured on my wedding playlist), and – despite not being able to see the stage – live, it is every bit as beautiful as I could have hoped for.

Interspersed between the shimmering musical offerings, Rankin interacts with the crowd, oozing an endearing charm – apologising for her lack of vocal strength which is feeling strained as they come to the end of their tour, and receiving mixed reactions as she shares that she was going to wear an Arsenal jersey to the show. However, despite her apologies, her vocals glisten with a soaring majesty throughout truly captivating renditions of ‘Dreams Tonite’ and ‘Party Police’ to draw the set to a close.

After we cautiously make our way to the back of the room, Alvvays return to the stage for a very welcome encore of old favourites. After the sparkling emotion of ‘Atop A Cake’ shimmers with a scintillating allure, the band offer the final track of the night, another one from their debut album, ‘Next Of Kin’ – a perfectly euphoric way to end what has been a blissfully exquisite experience (and it seems my apprehension of being disappointed was totally unfounded).

Mari Lane
@marimindles

Photo Credit: Eleanor Petry

October 23, 2022

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Track Of The Day: Alaskalaska – ‘Glass’

Painting a sonic picture of mystery and gloom, South London’s ALASKALASKA brings a beautiful eeriness in latest single ‘Glass’. Taken from their new album release Still Life, it oozes a resistant spirit whilst confronting the question: “Do we work to live or live to work?”, pondering the unhealthy relationships we have with work and the societal expectations that come with it.

ALASKALASKA uses a theme of choice to depict the coercive correspondence of hustle culture in ‘Glass’. Although mid-paced, everything about ‘Glass’ feels demanding while it requests our undivided attention as the track intensifies. Hypnotic synth pads and a crisp drum beat kick off ‘Glass’ with immediate sophistication that soon introduces Lucinda’s effortlessly cool vocals, the flow with. nonchalant grace while delivering their critical take on societal norms. Luncinda’s lyrics to speak for themselves, leaving room for listeners to reflect on themselves and consider their unique roles in the need to grind.

Building from an indie-electronica base, ALASKALASKA seems to handpick elements of the genre solely to serve the disposition of ‘Glass’, whilst drawing on influence from artists such as Porches and Tame Impala to execute the track’s story. The lyrical concepts and rich mix of eclectic sounds make boundaries limitless, inspiring us to expand our philosophy on genre and society. If ‘Glass’ is just one avenue for ALASKALASKA, Still Life is certain to be a compelling journey in its entirety.

Still Life, the new album from ALASKALASKA, is out now via Marathon Artists. And catch ALASKALASKA live, currently on tour supporting Porridge Radio – details here.

Jill Goyeau
@jillybxxn

Photo Credit: Tami Aftab

October 23, 2022

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LIVE: Midwife – Cafe Oto, London 18.10.22

“I have a few more songs to play before I release you from this sauna,” joked Madeline Johnston aka Midwife to her sold out crowd at East London’s Cafe Oto on Tuesday night. Armed with her guitar, a pedal board, headphones and her customised telephone mic, she delivered a disarming collection of shiver-inducing sounds for her London live debut, the full extent of which were felt despite the high temperature of the room.

Opening with the beautifully bleak ‘Colorado’ which set the tone for the rest of the gig, Midwife’s evocative, deceptively simple lyrical motifs and guitar loops were entirely hypnotic. Her congregation of listeners were attentive to her considered sounds from the moment she took to the stage, to the point where the noise of ice clinking in a glass felt amplified to the volume of a cymbal smash. Watching the New Mexico-based musician’s considered performance felt like a privileged form of voyeurism.

Fans were granted permission to enter her dream-like melancholy world, in which introverted tendencies and unrequited yearnings blur and clash with the urgent desire to find connection and understanding. Musing into her telephone mic with her soft vocals, it felt like Midwife was in dialogue with an unknown person at the end of the line, the distance between them simultaneously expanded and minimised as she sang into the receiver in front of a room of silent strangers.

Whilst it’s difficult to pick set highlights, tracks from her 2020 album Forever seemed to resonate strongly with the crowd. The tender nature of ‘Language’, the brooding, murky tones of ‘S.W.I.M.’ and the cutting ‘2018’ all left their mark, as well as the poignant opening track on her most recent record Luminol, ‘God Is a Cop’. Pausing to take a picture before her final song – the ambient ‘Sickworld’ – Midwife left her listeners on a pensive, transient note, encapsulated in the lyric: “I’m not here to stay / I’m just passing through”, before breaking the spell by moving to the merch stand to sell t-shirts and vinyl.

Midwife’s London debut was an understated, intensely memorable affair, heightened by the crowd’s willingness to provide her with their undivided, and much deserved attention.