ALBUM: Real Big Sky – ‘Real Big Sky’

Blending together reverb drenched riffs, enigmatic vocals and shiver-inducing cymbal smashes to create their blissful melodic noise, Real Big Sky’s self-titled debut album is an immersive, swirling collection of heavy guitar tunes that brood with quiet intensity.

Beginning as a form of distraction during the Covid-19 lockdowns for multi-instrumentalist Sara Kleppe (You Break, You Buy, Gold Baby), Real Big Sky was initially a solo project which she worked on in her bedroom in Hackney. Kleppe relocated back to her native Sweden in 2021, but with the help of friend and long-term collaborator Luca Romano – who also played drums and was on recording, mixing and production duties for the record – she has developed Real Big Sky’s sound to its fullest and most fluid yet.

“Changing dynamics throughout a song is something I try to give a lot of attention to, as well as trying to break free from the standard song structure,” Kleppe explains about the process of writing the songs for the album. It’s clear from the searching, yearning nature of opener ‘The Same Thing’ that she has a natural instinct for shifts in volume and mood, and this skill permeates Real Big Sky’s album.

Preferring not to be too prescriptive about her lyrics, Kleppe’s elusive vocals float gently over her expansive riffs, her ambiguous words adding to the record’s overall enigmatic quality. She transcends feelings of isolation that underscore tracks like ‘Long Lost’ and ‘Another Day’ in different ways; the first soothes like a heavy lullaby whilst the latter swells with anticipation.

She perceives introspection in a similar vein too. Whilst ‘Jess’ feels like a darker, moodier offering, gentler tracks like ‘Where Is Your Mind?’ ache with sincerity, the rich guitar sounds complimenting Kleppe’s understated pining for answers. A magnetic undercurrent flows through the shimmering tones of ‘Lightness’, the fullness of ‘The Deepest Currents’ and the urgent, epic concluding track ‘The End’, which clocks in at just under 7 minutes. It encapsulates all that Real Big Sky have to offer, equally as impressive in its quiet moments as it is in its intense, murky outro.

Kleppe was hesitant to release her predominantly solo work as Real Big Sky into the world, but this hesitancy is definitely misplaced. Together with Luca Romano, she has crafted a captivating record that raptures the senses, and much like the time period it was created in, is a blissful distraction from life’s more overwhelming moments.

Listen to Real Big Sky’s debut album here.

Follow Real Big Sky on bandcamp, Spotify, Facebook & Instagram

Photo Credit: Johanna Kleppe

Kate Crudgington
@KCBobCut

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Track Of The Day: Mannequin Death Squad – ‘Super Mental Psycho’

Having previously wowed us with immense offerings such as ‘Blue‘ and ‘Sick’, GIHE faves (and past guests on our radio show) Aussie duo Elly and Dan – aka Mannequin Death Squad – have now shared a riotous new single to coincide with their Summer UK tour (we can’t wait for them to play for us next week!).

Propelled by a gritty, angst-fuelled drive as fierce swirling riffs and relentless thrashing beats rage with intensity, ‘Super Mental Psycho‘ reflects on feelings of instability and fluctuating emotions. Blasting into the ears with a raw, frenzied energy, it’s a perfectly ferocious blast of infectious grunge-tinged rock with shades of legends such as The Distillers or Hole, showcasing the unique colossal power of our favourite Aussie duo.

Watch the new video for ‘Super Mental Psycho’ here:

You DO NOT WANT TO MISS seeing Mannequin Death Squad live next Saturday 20th August at The Cavendish Arms, with support from Maya Lakhani and Dogviolet – get your tickets now! And, if you’re not in London, they’re playing a number of other UK dates – details here.

Mari Lane
@marimindles

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LIVE: Deer Shed Festival 2022 (Day 3: 31.07.22)

It’s been a while since I attended a festival… Obviously, there were so many cancellations throughout the last couple of years due the pandemic, and I missed out on 2019 as I was busy hosting my own (well, my wedding which I aimed to be as festival-like as possible). So, this year I was desperate to find one that was as lovely as possible and suited my needs of being perhaps a little older than the average festival-goer without missing out on any of the best new music. Sadly, the last festival I went to in 2018, and my favourite ever festival experience – Indie Tracks – did not survive Covid, and so I was looking for a replacement; something equally as inclusive, chilled-out, family friendly, and of course hosting plenty of amazing female and non-binary bands and artists. And then I came across Deer Shed… And it was just what I was after! Highlighting a real family-friendly focus, whilst hosting an incredible range of exciting new artists, the North Yorkshire based Deer Shed perfectly filled the festival-shaped-void I’d been feeling for the last few years.

With the rain having relentlessly poured down from about 8pm on Saturday until lunchtime on Sunday, I greeted the last day of Deer Shed with a desperate need for some great live music to distract from the mud seeping through my tights (and ideally some sunshine), and I wasn’t to be disappointed…

After some much needed tasty sustenance from Earthworm Kitchen, and a visit into the In The Dock stage to catch the immersive psych-rock of Leeds band Van Houten, we put our hoods back up to head to the main stage to see the swirling alt-pop of Liverpool’s Natalie McCool. Combining gritty hooks with her lush, sweeping vocals and endearing charm, she delivers a joyous set providing a bright start to day, despite the dark clouds.

I’d shamefully not heard of the next artist to grace the main stage, the wonderfully named Bored At My Grandma’s House (not be confused with GIHE faves Grandma’s House or Let’s Eat Grandma….), but I will certainly be listening to them a lot from now on. Treating us to their dreamy lo-fi offerings with a shimmering allure, they manage to entice the sun to shine on us for the entirety of the twinkling splendour of their set.

Our first and only trip to the little Acorn Stage offers an experience I’ve been waiting for probably for a few years now: seeing ME REX live. And they’re just as lovely as I could have hoped for. Oozing a swirling emotion alongside jangling melodies and luscious harmonies, they deliver a rich, soothing catharsis with each of their lilting indie-pop offerings. A truly immersive set flowing with the band’s stirring lyricism and impassioned energy, I could lose myself in their glistening musicality forever.

Returning to a packed out In The Dock stage, Welsh trio The Bug Club deliver a fantastically expectation-exceeding set. Although I had been looking forward to seeing them live ever since interviewing them for Get In Her Ears last year, their immense frenzied energy and vibrant charisma is even more incredible than I’d hoped for. As their uniquely uplifting, frenetic brand of garage rock blasts throughout the tent to a sea of buoyant fans – singing along to every word -, a playful sense of euphoria fills the air as the band deliver their gloriously scuzz-filled, fiercely catchy offerings.

Back to basking in some very much welcomed sunshine, we return to the main stage to catch Liverpool’s The Mysterines deliver their seething rock anthems. With a fierce, driving energy and sultry splendour, each offering oozes a colossal, gritty power propelled by a soulful, angst-driven spark.

Despite the tinge of disappointment at Dry Cleaning not being able to make it to the festival (hope they feel better soon!), all is not lost as Dutch band Pip Blom take their spot on the main stage to deliver a gloriously uplifting collection of their trademark sunny indie-pop. Having been a big fan of this lot ever since first hearing the catchy fuzz of 2017’s ‘I Think I’m In Love’, it’s wonderful to finally see them live. As the crowd shimmy and shake to their scuzzy, whirring hooks and Blom’s distinctive honey-sweet vocals, the band showcase their ability to create the slickest of lo-fi anthems, juxtaposing a subtle gritty edge with an endearing radiant charm.

To end the surprisingly sun-filled day, and the festival as a whole, it’s a wonderful surprise to happen upon drag queen Ash Kenazi at the In The Dock stage – first being treated to their fantastic fusion of traditional opera and fun-filled lip-syncing, and later dancing the night away to the perfectly pop-tastic choice of tunes at the Silent Disco (hearing Shania’s ‘Man, I Feel Like A Woman’ for a second time this weekend being a particular highlight).

So, thank you Deer Shed – not only did you offer a fantastically dreamy line-up consisting of favourites old and new, but the warm, family-focused vibes and inclusive sense of unity that persisted throughout the weekend was particularly heartwarming to experience. Here’s to the little moshers of tomorrow!

Words: Mari Lane / @marimindles
Photos: Paul Dawes / @paullikesrobots

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Track Of The Day: Midnight Ambulance – ‘Smoke and Sweets’

In 2020, old friends reconnected after years apart and formed Midnight Ambulance, and boy are we glad they did! This perfect partnership has crafted an eclectic and dark sound which has gone on to see the Edinburgh based duo shortlisted for BBC Introducing Scottish Act of the Year 2022 and as support for Texas at Fringe By The Sea this August. 

Latest single ‘Smoke and Sweets‘ is a captivating offering, reflecting on feelings of isolation and someone’s reality slipping away; written through the Covid-19 lockdown, where isolation was experienced by many. The subject matter is clearly reflected through the powerful soundscape the duo have created, cleverly blending an exquisite folk-inspired musicality with electronic sounds and fuzzy in-your-face guitar, building to an immense frenzied climax. This eclectic fusion of sounds really gives them an interesting edge where you don’t know what to expect. 

Opening with an electronic drone and reverb-washed yet detailed vocals, Midnight Ambulance set an atmospheric scene with a stunning traditional folk melody sung with haunting close harmonies. A distorted drum enters, panned hard to one side, demonstrating interesting production decisions. For fellow audiophiles, this track must be listened to with quality headphones or a good sound system to truly experience the beautiful intricacies of what’s going on.

At one and a half minutes in, you are hit with a delicious drop – introducing heavier and more distorted territories. The vocals become faster, more urgent and desperate – “I don’t know how to let it go”. There’s feedback on the guitar, breathy vocal chops, vocal vocoders and smashing cymbals, poignantly mirroring the protagonist’s loss of reality. 

‘Smoke and Sweets’ was recorded at North Road Studios, which uses vintage equipment – giving the song a unique gritty warmth. 

Watch the stirring live video for ‘Smoke and Sweets’ here:

Ella Patenall
@ellapatenall

Photo Credit: Gareth Goodlad

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