ALBUM: A Void – ‘Dissociation’

Since their formation, A Void – the London-via-Paris triple threat of guitarist/vocalist Camille Alexander, bassist Aaron Hartmann, and drummer/backing vocalist Marie Niemiec – have been channelling their societal frustrations into a style of unapologetic alt-noise-grunge all of their own, with a punk-as-fuck riot grrrl attitude. From their 2016 EP, Roses As Insides, to their 2018 debut LP, Awkward and Devastated, A Void exude cathartic rage through raw visceral energy.

Mixed and mastered by Jason Wilson at Stakeout Studios, A Void’s sophomore LP Dissociation is a more mature record, spanning a song-writing period of two years, but no less aggressive than their previous offerings. Opening with the one-two punch of ‘Sad Events Reoccur’ – a six-minute punk rager presented in two parts – the trio take no prisoners with a Dinosaur Jr.-esque fuzz.

Propelled by L7 inspired chaotic energy and Hartmann’s heavy-as-fuck basslines, Alexander and Niemiec’s sing/screaming vocal harmonies throughout ‘Stepping on Snails’ encourage us to break free from anxiety, and embrace life through hypnotic grunge. Alexander’s intoxicating punk guitar groove throughout ‘One of a Kind’ is relatively calm in contrast to the trashing breakdown of ‘Newspapers’ – “Instead of destroying myself, I decided to destroy everyone’s ears!” – and its doom-sounding counterpart ‘Bag of Skulls’. Whiplash is expected!

‘Sick As a Dog’ follows as a dark, cathartic track detailing the fear of abandonment; “the idea of channelling pain through several emotional states”. Mental health is a reoccurring theme in the band’s lyrics – Alexander not shying away from her emotions as she screams with a sense of hopelessness: “When all the changes make you lose the plot / and bring you into a state of dissociation.”

From the distorted guitar sludge of ‘2B Seen’ to the softer dissonant strings of ‘5102’, A Void’s bewitching sound is vampiric, demanding your energy as you headbang along to the snap of Niemiec’s rhythm, and Alexander’s emotional outbursts: “I’d rather face my fears alone than with someone like you / …toxic mermaids are swimming around you / They wanna suck all the blood that’s inside you!”

Taking inspiration from nineties punk-infused grunge, reminiscent of Hole, Silverchair and Sonic Youth, the nostalgia-inducing playfulness of ‘In Vain’ and ‘Bad Habits’ leads to the anthemic closing track ‘Sonic Untitled’ – a vitriolic attack on toxic masculinity. “Just give and give and give and give and give and get nothing! / So scared to live in the shadow of a woman…”

“When you compose an album like this, each song is a reflection of a different personality…”, the band explain. From mental health and heartbreak to womanhood, A Void confidently stage-dive into twelve cathartic tracks of justified punk rock angst; delivering a deeply personal record of riotous grunge.


Dissociation, the new album from A Void, is out now. Buy here.

Ken Wynne
@Ken_Wynne

kenwynneLeave a comment

Track Of The Day: Ideal host – ‘The Conflict’

“Confusion’s a ritual in the routine of the office” observes Ideal Host vocalist Heather Perkins over brooding riffs and post-punk inspired beats on the band’s latest single, ‘The Conflict’. Following on from their debut track ‘Dining Out In The Afterlife’, this latest offering is a more sardonic cacophony that explores the antagonistic nature of the everyday routine.

Led by Heather Perkins and Sean Hughes who are both former members of the band Slowcoaches, Ideal Host is their new project, inspired by the need to make music on their own terms. After Heather decided to step away from writing & recording in 2019, the pair have come back to work together and evolve their sound under their new moniker.

“I had reached a point where I felt restricted creatively, because I was often relying on other people to interpret my ideas,” Heather explains further. “Learning the skills I need to translate what is in my head into something tangible has been a real revelation. De-mystifying the basics of recording and having the option to experiment with both analogue and digital approaches has given me a much broader palette to work from. Sean and I have enjoyed taking a slower, more considered approach to making music this time.”

This consideration has helped to shape their two eclectic singles ‘Dining Out In The Afterlife’ and ‘The Conflict’, which Ideal Host recently performed during a live session for Marc Riley on BBC 6Music. The band are planning to release their debut album in early 2023 and will be playing a string of live dates too.

Listen to ‘The Conflict’ below.

Follow Ideal Host on Spotify and bandcamp

Artwork: Ryan Heath

Kate Crudgington
@KCBobCut

Kate CrudgingtonLeave a comment

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

Kate CrudgingtonLeave a comment

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

mariangelicalaneLeave a comment