Albums Of The Year 2018

Despite being a pretty scary year in the grand scheme of things, 2018 has actually been exceptionally great for new music. Our ears have been filled with sonic delights of all genres, providing necessary catharsis and enjoyment. 

So, it was pretty hard to pick our favourite albums of 2018. But, from luscious indie-pop to thumping electro-punk and eerily dystopian soundscapes, here they are… 

Fightmilk – Not With That Attitude
Following utterly infectious singles such as ‘Pity Party’ and ‘Bank Of Mum And Dad’, this year GIHE faves Fightmilk signed to Reckless Yes and released their truly fantastic debut album Not With That Attitude. Delving deep into subject matter such as the end of relationships, summer crushes and the general feelings of anxiety that come with everyday living, each and every offering on Not With That Attitude is an angst-driven gem; a perfect antidote to life, with a nostalgic nod to the emotions of our younger selves.

I can safely say, although the album was only released last month, it’s been one of my most listened-to of 2018; I just can’t get enough of its luscious, punk-infused indie-pop gems. From the scuzzy tongue in cheek wit of anti-love song ‘4 Star Hotel’, and the jangly riffs and immensely catchy, silky smooth refrains of pop anthem ‘Dream Phone’, to the twinkling heartfelt splendour of personal favourite ‘Solving Crimes In Sweden’, there isn’t a dull moment to be found.

An utterly life-affirming, and completely addictive, collection, Not With That Attitude is not only one of my favourites of 2018, but will hold a special place in my heart for years to come.
(Mari Lane – Managing Editor/Co-Founder)

Gazelle Twin – Pastoral
A unique artist with razor sharp vision and uncompromising creativity; Gazelle Twin (aka Elizabeth Bernholz) combined glitchy beats, menacing samples and an uncanny new costume on her new album, Pastoral. Released via her own label Anti-Ghost Moon Ray, the record marked another transformation for the performer; this time she exhumed England’s “rotten past” and questioned its uncertain future.

I’ve been following Bernholz since the release of her sophomore record Unflesh in 2014, and between Motherhood and curating another two atmospheric records (2016’s Out Of Body & 2017’s audio/visual project Kingdom Come), she eventually released Pastoral – and it was totally worth the wait. Her altruistic style is one that can’t be mimicked – even though she herself is a master at adopting the traits of others, and transforming in to a new species of performer who offers brutality and intrigue in equal measure.
(Kate Crudgington – Features Editor/Co-Founder)

Anna Calvi – Hunter
Along with already being a massive fan of Anna Calvi’s music and eager to hear the follow up to One Breath, I wasn’t prepared for just how much I would love the new record. I’d like to say it’s just a personal thing. Mostly because I’m a writer and there’s a branch of us who only speak about how things make us feel (of which I’m one) but also because Hunter was, at its core, a queer and feminist record.

Hunter is the kind of album I would have given into l’appel du vide for as a teenager: a queer album by a queer artist I love, full of tracks bathed in the queer beauty of art. Of course, queerness is far from all the record is, but every track drips in it and its adjacence to the power of love and of sex and of raw, integral passion untouched by any hand and only feelings.

Because of that and the magnificence of tracks like “Wish” and “As a Man”, Hunter is undoubtedly my record of the year.
(Em Burfitt – Contributor)

Sink Ya Teeth – Sink Ya Teeth
Having marked them out as ‘Ones To Watch’ last year, it certainly seems that Maria Uzor and Gemma Cullinford – aka Sink Ya Teeth – have proved us right throughout 2018; this year has seen the Norwich duo receive acclaim from BBC 6 Music’s Steve LaMacq and The Guardian, support big names such as Chk Chk Chk and Eton Crop, and release their banger-filled debut album.

Filled with addictive, pulsating beats and ‘80s-inspired dance-pop hooks throughout, the album is an epic sonic journey from start to finish. From the pounding energy and funk-fused bass hooks of singles such as ‘Pushin’ and ‘If You See Me’, to the swirling, whirring soundscapes of ‘Glass’ and ‘Complicated’, each track is an utterly infectious slice of thumping electro-punk. And add Uzor’s smooth, soaring vocals to the mix, and what you have is something completely unique and truly exquisite.
(ML)

Haiku Salut – There Is No Elsewhere
For many it will be hard to imagine how an instrumental album can so clearly communicate a message, not just a feeling evoked by sound but a clarion call. On their third album Haiku Salut manage just this though – their most cohesive work to date There Is No Elsewhere is beautiful in sound and theme, as it reflects the dramatic landscape of their Derbyshire home and combats the societal narrative of division with a love-letter to togetherness.

The album moves their intricate and fascinating music on. Here we get a more deliberate and incredibly thoughtful play between analogue and electronic, a blurring of the line between musician and instrument as organic and digital interlock. Community is roused through the clever use of brass bands, while rhythms incite and encircle swells of feeling.

There Is No Elsewhere is a remarkable work from a band who should be considered a national treasure.
(Sarah Lay – Contributor)

TAYNE – Breathe
With a sound as distracting as the shade of pink that creator Matthew Sutton paints his lips with for their live shows; TAYNE’s debut album is a vital, abrasive, cathartic listen fuelled by abrasive synths and explosive pay-offs. TAYNE’s music is some of the most interesting and altruistic I’ve heard all year; blurring the lines between industrial, synth-pop, shoe-gaze and alternative; a visceral cacophony of synth textures and drum patterns, alongside Sutton’s hair-raising screams. It’s an emotional exorcism with a pop sheen, and I’m very glad it dropped in to my inbox at the beginning of this year.
(KC)

First Aid Kit – Ruins
It’s easy to dismiss ‘break-up albums’ as being forty minutes of wallowing in self-pity, however Ruins deals with the whole spectrum of emotions which comes with grieving a relationship without any of the bitterness – demonstrating a gentle strength which we can all relate to. Personal favourite ‘Rebel Heart’ introduces us to the darkness, before the uplifting harmonies of ‘It’s A Shame’ show the empowerment which comes with self-reflection, whilst the twinkling melodies of ‘Fireworks’ convey that common nostalgic, rose-tinted outlook with a chorus worthy of belting out in the shower.

If music reflects the journeys we all embark on in life then Ruins beautifully encapsulates the complexities of relationships. It reassures us that it is normal to feel a wide-range of emotions all at once – that it is okay to be vulnerable.
(Nicky Lee-Delisle – Contributor)

Hilary Woods – Colt
A contemplative, carefully crafted record which schools listeners in how to come undone: Hilary Woods’ debut album is an exquisitely painful exploration of grief, separation, and abandonment. The Dublin-based artist signed to altruistic label Sacred Bones to release her first full-length record, and the partnership is one I wholly approve of. Comfortably overlapping both acoustic and electronic genres, underneath all of Woods’ melancholy sounds there lurks a quiet power: a power that comes from being honest about genuine pain. When I saw her perform live at St. Pancras Old Church earlier this year, I was overwhelmed with emotion and felt too shy to approach her after the gig at the merch stand, where I bought a copy of her album. If I had, I definitely would’ve thanked her for making such a beautiful, rewarding record.
(KC)

Dream Wife – Dream Wife
It’s hard to find a band who have been as consistently brilliant in 2018 as Dream Wife, and their self-titled debut is a case in point. From Fall meets ESG psycho-drama ‘FUU’, high-school Stooges ‘Let’s Make Out’ and Toni Basil gone garage ‘Hey Heartbreaker’, you might think it’s all a blast. But the group can emote too – ‘Love Without Reason’, ‘Somebody’ and ‘Fire’ showing off their pop qualities. It’s all kept simple, and that’s Dream Wife’s genius.
(John McGovern – Contributor)

The Lovely Eggs – This Is Eggland
Ever since being completely blown away by The Lovely Eggs at Indietracks Festival this summer, I’ve been more or less obsessed with the Lancaster duo. Lucky enough to catch their utterly immersive set for a second time at The Scala this Autumn, I’ve had their This Is Eggland album pretty much on loop throughout 2018.

From the swirling, psychedelic cacophony of tracks such as ‘I Shouldn’t Have Said That’, to the uplifting lo-fi fuzz and anthemically catchy spirit of ‘Hello I Am Your Sun’ and ‘Wiggy Giggy’, the album oozes a frenzied, riotous energy and spiralling sense of urgency throughout. With Holly Ross’ blunt realism and scathing retorts to all the dickheads out there, The Lovely Eggs stand out as one of the most relevant bands around – echoing the feelings of the many, with their subtle social commentary and refreshing cynicism providing an apt accompaniment to the eccentric musicality of This Is Eggland.
(ML)

The Soft Moon – Criminal
The second Sacred Bones album to make my list this year is The Soft Moon’s Criminal. It’s a gripping, teeth-grinding, ultra-cathartic affair; and when heard live it’s a different beast entirely. I have all the time in the world for men who explore their mental states through the medium of music, and listening to Criminal feels like an exploration of this kind. The Soft Moon (aka Luis Vasquez) takes memories of childhood trauma, misplaced guilt and self-hatred, and allows himself to “cross the line” and produce a truly breath-taking collection of industrial, electronic soundscapes here. I’ve had ‘Burn’ on repeat all year long.
(KC)

Chorusgirl – Shimmer and Spin
Following 2015’s wonderful self-titled debut, this year GIHE faves Chorusgirl released their long-awaited new album Shimmer And Spin, and we couldn’t be happier for them. Chronicling a tense year, created during a period of crippling anxiety and a relentless string of bad luck and bad news, the new album is the result of immense hard work and dedication from Silvi, Faith, Udo and Michael. Of the writing process, Silvi explains: “There was barely a month without bad news on a personal and wider level, and at the end of that year, my anxiety started to spike badly. The album became a very important anchor. Every note and lyric were raked over and looked at twice; we were hacking and honing away at the songs for months, trying to craft some sort of sculpture of our state of mind.”

Despite oozing a darker undercurrent than previous offerings, Shimmer And Spin showcases Silvi’s distinctive, lush vocals throughout, as effervescent harmonies and impressive driving riffs flow, creating Chorusgirl’s utterly unique, shimmering sounds. From the sparkling garage-pop of tracks such as ‘No Goodbye’ and ‘In Dreams’ to the simply spine-tingling soaring emotion of personal highlight ‘Stuck’, this album – and the determination that went into creating it – showcases exactly why Chorusgirl are one of my favourite bands of the last few years.
(ML)

Track Of The Day: Anna Calvi – ‘Don’t Beat The Girl Out Of My Boy’

Introducing the first track from her first album in four years, Anna Calvi describes ‘Don’t Beat the Girl Out of My Boy’ as being beyond definition. The song is beyond definition because queerness is, and the track isn’t a departure from her previous records, it is an extension; an unleashing; an entirely honest, boundary-breaking, binary-destroying hit of truth.

‘Don’t Beat the Girl Out of My Boy’ is about the defiance of being happy. It’s about pleasure without shame, allowing yourself to be exactly who you want to fucking be, and being proud because you’re you. It’s about the primal rage of being human and the joy when a tiny piece of it, of yourself, makes sense.

Not only is it a queer song from a queer album, Anna Calvi isn’t breaking free from or out of anything, she’s embracing everything that she is and we are with every fiber of her spirit.

If you’re not yet aware of Anna Calvi and her work, you will be soon. She’s been nominated for the Mercury Prize twice, a Brit award or two (I forget, mostly because the Brits like to highlight ginger guys with loop pedals, and that’s not a language I know how to speak, je ne parle pas Ed-whatever), and has collaborated with Marianne Faithfull, Amanda Palmer and David Byrne. She’s also toured with the likes of Grinderman and the lead singer from The Smiths.

When I name my top three guitarists of all time, Anna Calvi will be there. While ‘Don’t Beat the Girl Out of My Boy’ lacks the “traditional” sound (in quotes, because traditional is the antithesis of a wild word) of her former albums, the sneak peaks and roaring covers she’s been posting to social media in the run-up promise a little of everything.

And it was within those, in her manifesto, where she said it best:

I’m hunting for something – I want experiences, I want agency, I want sexual freedom, I want intimacy, I want to feel strong, I want to feel protected and I want to find something beautiful in all the mess.

I want to go beyond gender. I don’t want to have to chose between the male and female in me.

I’m fighting against feeling an outsider and trying to find a place that feels like home.

I believe that gender is a spectrum. I believe that if we were allowed to be somewhere in the middle, not pushed to the extremes of performed masculinity and femininity, we would all be more free. I want to explore how to be something other than just what I’ve been assigned to be. I want to explore a more subversive sexuality, which goes further than what is expected of a woman in our patriarchal heteronormative society. I want to repeat the words “girl boy, woman man”, over and over, to find the limits of these words, against vastness of human experience.

I believe in the female protagonist, who isn’t simply responding to a man’s story. I go out into the world and see it as mine – I want something from it, rather than just being a passive product of it. I’m hungry for experiences. Sometimes things seem clear, and other times I feel lost. I feel strong and yet vulnerable; I wear my body and my art as an armour, but I also know that to be true to myself is to be open to being hurt.

The intent of this record is to be primal and beautiful, vulnerable and strong, to be the hunter and the hunted.

Hunter, the upcoming album from Anna Calvi will be released 31st August. Tickets for the European tour go on sale on today, 8th June. 

Em Burfitt
@fenderqueer

 

Anna Calvi Announces Tour Dates & Brand New Material

After a series of teasing and inspired images across the realms of social media, guitar chanteuse, two-time Mercury Prize nominee, and London’s own Anna Calvi has announced a series of three solo shows due to take place in Berlin, Paris, and London this June.

Calvi’s 2011 self-titled debut record was pretty fucking rad and 2013’s incredibly personal (and equally as fab) follow-up, One Breath, made the sophomore album curse look like a sentiently feeble and try hard myth. It’s been a while since we’ve seen Anna—alongside musical soulmate, Mally Harpaz, onstage and once you have, there’s no way on earth you don’t want to keep going to see her again and again.

While her third album has yet to be announced, the message delivered with the tour dates was one that verified that it’s just around the corner and that all three shows will be full of brand new yet-to-be-heard tracks.

Several European festivals will also have the pleasure of Anna’s performances but these three shows, in particular, are the beginning of something new for Anna Calvi, and at Get in Her Ears we cannot wait to see what’s in store.

From Anna:

“I remember looking into your eyes, I remember our energy, I remember you testing me, I remember me testing you, I remember feeling the most alive in those moments, I remember the dam breaking, like a primal scream. I want it again, I want to see you again.. This new music is everything I wanted it to be. I want you to hear what I’ve created and laboured on with love for so long, for you, for us.”

From us, one of our favourites:

Tour dates June 2018:

12th June – Berlin, Germany – Berghain
15th June – Paris, France – La Gaîté Lyrique
19th June – London, UK – Heaven

Em Burfitt
@fenderqueer

LIVE: Mally Harpaz and Her Merry Band of Musos @ The Victoria, 19.12.17

I was a dick as a kid and considered mainstream music to be Uncool. This was after the phase where ‘Barbie Girl’ was one of the only CD singles I’d bought myself, right after ‘Mulder & Scully’ by Catatonia, ‘course. Because Cerys has always been pretty cool…

The older I’ve got, I’ve eased up on my neurotic need to sought out the avant-garde, and I’m well open to admitting that Ariana Grande has a legion of what my generation calls bangers, but I’m still drawn to music that pushes me off the edge of the nearest precipice. Because then I get to indulge in l’appel du vide whilst actually still getting to go home at night.

Music saves lives, and Mally Harpaz is one hell of a music-maker.

There isn’t a single instrument out there she can’t play, and even before I had the chance to talk to her about her processes, I’d walk into an Anna Calvi gig and immediately go and see what new piece of equipment she had on stage with her.

2017 marked not only the process of professionally recording her own compositions for conceptual art videos by visual artist Clara Aparicio Yoldi, but also the the start of a series of concerts masterminded by Mally to not just play said compositions, but to also share the stage with a rotating band of incredible musicians from all walks of life.

Blind Dog Studios is Mally’s brainchild and heartchild – and I say heartchild because the mind has a tendency to stifle the creative process for fun, and Mary Wollstonecraft sure didn’t keep his brain in a silk bag. The concert series this year has introduced us to artists like Hazel Iris, Ciara Clifford, Colonial Sun, VÄLVĒ, Hana Piranha.

19th December saw the last gig of the year at The Victoria in Dalston – a fantastic way to end the year. And I can happily assure you there’ll be more next year, and that you should catch any/all of them that you can. 

We even got a guest vocals and guitar spot from Mally’s best friend and musical soulmate, the one and only Anna Calvi; a wonderful surprise, just over three years after her sold out orchestral gig at St. John-at-Hackney.

2017 was a great year for the London music scene and an even greater one for us girls, and 2018 looks to be shaping up to be even better, especially with projects like Blind Dog Studios flipping the scene on its head.

 

Em Burfitt
@fenderqueer