GIHE Highlights: Supersonic Festival 2024

In her welcome note to Supersonic Festival goers in the official printed guide for this year, Artistic Director Lisa Meyer expressed her aspirations for the three day event: “I hope that Supersonic will be a space for people to find comfort in one another, catharsis in music and a celebration of an amazing community and extraordinary art.”

Get In Her Ears have been long-time admirers of Supersonic – which has been running for 21 years – so we were thrilled to finally be able to attend the Birmingham-based festival in person for the first time this year. We are also delighted to confirm that Lisa’s introductory words transcended from the page into a real life experience for us.

Described as “championing experimental and adventurous music,” we found Supersonic to be an immersive and fascinating encounter and not just because of the eclectic performances from artists on the line-up, which included Bonnie ‘Prince’ Billy, Dame Area, Senyawa, The Body & Dis Fig, Melt Banana, F*Choir, Matana Roberts, GROVE x Taliable x Toya Delazy, OXN and Daisy Rickman.

The complimentary events and workshops running alongside the festival’s live music programme – Do.om Yoga‘s guided meditation, Stuart Maconie’s Freak Zone Quiz, zine-making with Decolonise Fest – provided attendees with the opportunity to indulge their curious nature in a vibrant but low pressure environment, which is something we value highly at Get In Her Ears. We could wax lyrical about the power of Supersonic infinitely, but we’ve tried to condense our experience of the festival into eight highlights, which you can read below…

THE NONE are our new favourite band

With Kaila Whyte on vocals (Blue Ruth, Youth Man), Gordon Moakes on bass (Bloc Party, Young Legionnaire), Jim Beck on guitar (Cassels) and Chris Francombe on drums (Frauds), THE NONE are an experimental super-group in our eyes.

Formed at the start of 2023, the band bonded over hours spent in their rehearsal room making noise and discussing shared obsessions together. The elusive nature of their name reflects their creative approach; ego-less experimentation and open collaboration. This passion comes screaming through in their live performances. Their set at Birmingham’s O2 Institute was a riot of abrasive punk cacophonies that completely pulverized the senses.

The lung capacity on Kaila – who admitted she was nervous between songs whilst sipping on a can of Liquid Death – was deeply impressive. She ripped through each track, grasping her double mics, thrashing around as she unleashed her voice into them. THE NONE have recently shared their debut EP, MATTER, on bandcamp – but you NEED to hear their music in the flesh to fully appreciate its raw, tenacious spirit.

(Photo Credit: Robert Barratt)

Gazelle Twin is in a league of her own

Having already witnessed her shape-shifting Black Dog performance live at Bush Hall in London last year, we were expecting great things from Elizabeth Bernholz aka Gazelle Twin as she brought her shadowy spectacle to Supersonic. We were not disappointed. Falling somewhere between a dark lullaby and intense sleep paralysis, her varied and visceral electronic textures came with bass drops that made speakers and shoulders shudder.

With her face on full display – a first for the artist who usually veils her features – the crowd were entranced by Bernholz as she sat in her vintage armchair, her dynamic vocals untethering the atmosphere like the paranormal forces that originally inspired the inception of Black Dog. Her theatrical performance of her fourth record was an exquisitely raw, haunting exhibition of the power of intangible fear and we were completely gripped by it.

(Photo Credit: Catherine Dineley)

Maxine Peake has a great interviewing technique

Despite insisting she would “never be doing it again”, listening to actress Maxine Peake in conversation with Elizabeth Bernholz (Gazelle Twin) was a real festival highlight. A last minute change to the programming – Peake was originally supposed to be speaking with Throbbing Gristle’s Cosey Fanni Tutti, who withdrew due to a family emergency – her improvisational interviewing style and fun anecdotes gave the event its relaxed and informal atmosphere.

Peake and Bernholz have collaborated on projects together before – a stage adaptation of 1970s TV play Robin Red Breast and an installation titled We Wax We Shall Not Wane at The Horror Show exhibition at Somerset House – which meant they had a natural rapport when sharing stories about these works. What shone throughout their conversation was Peake and Bernholz’s joint commitment to authentic self-expression through art, and their desire to make the stages and institutions they work on into more inclusive and equal spaces. To simplify our thoughts: a pair of total legends.

(Photo Credit: Robert Barrett)

(Photo Credit: John Convery)

Decolonise Fest are a force for change

Get In Her Ears have been following the vital work of Decolonise Fest – a DIY collective of organisers, activists and musicians who advocate for punx of colour – for some time now, so we were thrilled to see that they were partnered with the festival, as well as hosting a workshop on the rooftop of Supersonic’s hub venue XOYO.

Titled “Decolonising Publishing Through Zine Making” the informal event was run by an inviting team who helped attendees create their own mini zines. Between the cutting, sticking, folding and drawing, Decolonise members explained that the process of zine-making has historically been vital for DIY artists of colour. It has helped them to express themselves authentically and provided an alternative means of connection and promotion in media spaces that are often biased or whitewashed.

Decolonise are hosting their own festival in London at Signature Brew Haggerston this weekend (13th-15th Sept). Spider, Cuurls, Dogviolet, Grunt, Lilith Ai, Maya Lakhani plus loads of other acts will be playing across the 3 day event. Tickets are available here.

(Photo Credit: Ewan Williamson)

Brìghde Chaimbeul’s experimental Celtic sounds were beguiling

Offering something completely unique to the festival’s line-up was Isle Of Sky native Brìghde Chaimbeul. Her performance at the O2 Institute was a captivating blend of immersive drone sounds, courtesy of her traditional Scottish smallpipes and her hypnotic Gaelic vocals. Her visual accompaniments – monochrome footage of a dancer in casual clothes performing a traditional Scottish dance in the empty highlands – beautifully complimented Chaimbeul’s music, which breathes new life into ancient sounds that have been in danger of being forgotten. Her music held deep resonance with the crowd, who gave her their full attention throughout the set.

(Photo Credit: Robert Barrett)

We want to form a coven with Tristwch y Fenywod

We only managed to catch three of their songs, but we were spellbound by Welsh-language gothic rockers Tristwch y Fenywod (which translates as “The Sadness Of Women”). With Banshee screams worthy of their namesake, we were deeply impressed by the delightfully discordant sounds that Gwretsien Ferch Lisbeth (Guttersnipe, Petronn Sphene), Leila Lygad (Hawthonn) and Sidni Sarffwraig (Slaylor Moon, The Courtneys) created together – led by Gwretsien’s innovative multi-stringed dual-zither.

The band released their self-titled debut album at the end of August via Night School Records and we’re looking forward to giving it the deep listening experience it fully deserves.

(Photo Credit: John Convery)

Emma Ruth Rundle enchanted us

American songwriter and visual artist Emma Ruth Rundle celebrated the 10th anniversary of her first official album, Some Heavy Ocean, with festival-goers at the O2 Institute. She performed the tracks from her impassioned debut with unwavering focus, her emotive vocals drifting through the busy venue. This is the first time we’ve seen Rundle live and we were moved by her rich acoustic guitar sounds and majestic-yet-melancholic voice.

(Photo Credit: Robert Barrett)

From the artists, to the fans, to the people behind the scenes – people really commit to the Supersonic experience

Circling back to the community sentiment that Artistic Director Lisa Meyer expressed in her welcome note that we cited at the beginning of this feature – it was endearing to witness an unwavering level of commitment manifest itself in so many different ways across the weekend at Supersonic Festival.

As first-time attendees, we were struck by the friendliness of everyone. This ranged from quizzing with total strangers at the Freak Zone Quiz and ultimately making friends from it, to a casual chat we had with a woman who attended the zine-making workshop, the willingness of other individuals and organisations to interact with us at networking events, through to the security guard who spotted the Nine Inch Nails logo on our t-shirt and promptly struck up a fun conversation about the band after proudly displaying his “NIN” tattoo in solidarity. Maxine Peake even mentioned how much she liked our tattoos while we were waiting for the loo. By the end of the weekend, we didn’t feel like newcomers anymore.

International acts on the bill such as MC Yallah x Debmaster (who were unable to perform last year due to visa issues), Tokyo grindcore legends MELT BANANA and experimental harpist Mary Lattimore were granted incredibly warm welcomes by their full crowds. The fluctuations in genre and volume between these eclectic acts did not deter festival-goers from giving their full attention to the stages, reiterating that Supersonic truly is a place that nurtures fan-bases that love adventurous music.

Ahead of the event, we interviewed Elizabeth Bernholz (Gazelle Twin) about her Black Dog performance and her anticipations for her return to Supersonic, where she wholeheartedly cited it as her “favourite festival in the UK” and now, we feel a similar way.

Like many arts communities, despite its passion and commitment, Supersonic is unfortunately not immune to struggle. Lisa Meyer also noted in her intro that we are living through “heavy times”, plagued by uncertainty on global and local scales. It would be awful to see the community spirit of Supersonic Festival crushed because of accelerated gentrification in Digbeth – so please consider supporting and attending the festival next year if you can.

Freak Zone Quiz (Photo Credit: John Convery)

Supersonic Networking Brunch (Photo Credit: John Convery)

Artistic Director Lisa Meyer (Photo Credit: John Convery)

MC Yallah x Debmaster (Photo Credit: Alice Needham)

Mary Lattimore (Photo Credit: Alice Needham)

The Body & Dis Fig (Photo Credit: James Thompson)

Melt-Banana (Photo Credit: Catherine Dineley)

Kate Crudgington1 Comment

FIVE FAVOURITES: Kira McSpice

Finding strength in vulnerability is something that multi-instrumentalist Kira McSpice has been carefully leaning into, on both an artistic and personal level. Her beautifully titled new album, The Compartmentalization of Decay, is a poignant reflection on trauma and life after sexual assault, which she personifies through the natural protective and healing mechanisms of plants, in particular, the maple tree. Her exquisite voice and dynamic string arrangements make for striking and hypnotic listening.

Plant pathologist and biologist Alex L. Shigo writes: “Animals heal, but trees compartmentalize. They endure a lifetime of injury and infection by setting boundaries that resist the spread of the invading microorganisms.” Kira McSpice draws on this natural phenomenon on her latest record, slowly becoming more resilient in the process.

We think one of the best ways to get to know an artist is by asking what music inspired them to write in the first place. We caught up with Kira to ask about her “Five Favourites” – five tracks that have inspired her songwriting techniques. Check out her choices below and scroll down to watch the video for Kira’s latest single ‘Knife like a Spile‘ at the end of this post…

 

1. Kate Bush – ‘Hello Earth’
Kate Bush is my very favorite. When I was 19 I got her album, The Kick Inside, on CD and drove around blasting it and trying to hit all the high notes. I can’t really explain how much her music means to me. She taught me how to sing. Before I found her I thought I was supposed to have this kind of low vocal fry thing going on with my voice but once I found her I realized I was supposed to go higher and weirder and it felt like I had discovered who I was. This song ‘Hello Earth’ makes me crazy. It’s part of her album, Hounds of Love, and within the album there’s this 7 song story about a person lost at sea. It’s such a beautiful concept and basically ‘Hello Earth’ is when she’s floating away and losing consciousness and becoming detached from the world. She’s drowning and there are these huge waves in the song that come over and over as she’s drifting farther away and it’s just so powerful and emotional.

2. Joanna Newsom – ‘Only Skin’
Probably the most beautiful song ever. Every time I hear it I discover something new. I feel like it’s one of those songs that will be with me all my life and mean different things to me as I get older. Sometimes when I need a good cry I’ll listen to it and when she gets to that part about 6 minutes in I let loose. It destroys me. I think it’s the melody that does it during that part. Her melodies and the instrumentation and the lyrics… I just love it all so much. Also these lyrics: “While down in the lowlands the crops are all coming; We have everything/ Life is thundering blissful towards death/ In a stampede of his fumbling green gentleness” those lyrics… are insane. Her lyrics changed the way I thought about lyrics. I really take them seriously because of her.

3. Elgar – ‘Cello Concerto in E minor, Op. 85’ (played by Jacqueline du Pré)
I started playing the cello when I was really young and Jacqueline du Pré was (and will forever be) my favorite cellist. Her performance of the Elgar cello concerto is her most famous and the concerto breaks my heart every time. When I was growing up, I would move around in a really dramatic way while playing the cello – she was famous for her dramatic movements and I thought that one day I’d be just like her. There was a movie about her and her sister called Hilary and Jackie, and in the movie she wears a shiny green dress while performing, so I wore a shiny green dress for my performance of Twinkle Twinkle Little Star when I was 4. The way she plays the cello is unlike any other. Her performances were full of so much emotion and energy, so much drama and sadness. She taught me that emotion is essential in performance.

4. Stravinsky – ‘Firebird Suite’
I played Stravinsky for the first time in high school with the symphony I was in. It was insane. We ended up touring with it in Europe and got to play this piece every night. ‘The Firebird’ changed me and how I thought about orchestral music. I hadn’t been introduced to the cool composers yet and when I finally got to play him it was a door into a very exciting realm for me. It felt like my world had expanded/shifted, like I realized the symphony could be used in a crazy way. It was the beginning of my discovery of more modern composers and more experimental music. I’ll always remember playing the very beginning of the piece. It’s so brooding and evil sounding. I fell in love immediately and wanted to recreate that feeling in different ways. I think I like Stravinsky because he does a lot of weird stuff but it doesn’t feel distracting, it feels like it has a purpose.

5. Talk Talk – ‘New Grass’
I chose this song because I always come back to it. I think it left an impression on me because of how sad it feels while still also feeling hopeful. I’m always drawn to music like that. It’s also got this cyclical structure that goes on and on. I remember when I first heard it I was hypnotized and didn’t want it to stop. Didn’t want to leave the world it created. I also hear little secret sounds? Loops? Tremelo strings? going on underneath everything and I think that’s genius. Those details create such a wild landscape that the songs live in. There’s so much existing in it, making it feel so full but at the same time it feels spacious. I don’t know how they do it. I’m always striving for that I feel like. I want to produce a record that feels like that.

Thanks to Kira for sharing her favourites with us!

Watch the video for her single ‘Knife like a Spile’ below

Follow Kira McSpice on bandcamp, Spotify, Youtube, Facebook & Instagram

 

Photo Credit: David Weindorf

Kate CrudgingtonLeave a comment

PLAYLIST: March 2024

The Get In Her Ears team have put together another eclectic mix of alt pop tunes, alternative & shoegaze anthems, unusual electronic sounds, and indie & folk musings for your listening pleasure. Take some time to scroll through our track choices below, and make sure you press play on the playlist at the end of this post.

Follow GIHE on Spotify to hear all of our previous playlists too.

ARXX – ‘Crying In The Carwash’
The latest single from Brighton duo ARXX, ‘Crying In The Carwash’ is a celebration of when the duo found out they were supporting one of their musical heroes, Muna, and the happy tears that followed. Oozing tonnes of synth-driven anthemic energy and an emotion-strewn uplifting power, it’s impossible to listen to it and not feel all the feels. It may be their poppiest track yet, and that’s no bad thing. We love ARXX so much and so incredibly happy to see them doing so well and living their dreams. They’re off on tour next month supporting American artist Fletcher, and we know that Hanni has recently had a polyp removed from their throat, so we’re wishing them all the best vibes and quick recovery.
(Mari Lane – Co-Founder & Managing Editor)

Tiiva – ‘Tornados’
I love this euphoric anthem from GIHE fave Tiiva. Full of sweeping melodies, jagged synths and soaring vocals, Tiiva explains “‘Tornados’ is about possibility and hope through hedonism and thinking about the different directions you can take. It’s inspired from spiritual ideals of using intuition instead of influence, listening to primal voices and leaning into self trust and belief to keep going when things are difficult or confusing in life.”
(Kate Crudgington – Co-Founder & Features Editor)

Circe – ‘Blue Love’
I am OBSESSED with this song from dark-pop artist and GIHE fave Circe. ‘Blue Love’ is so romantic, so melancholic, so candid, so sultry; it’s a BIG FEELINGS pop anthem. Circe described it as “Karen O produced by The Cure during their Disintegration era” and I wholeheartedly agree. ‘Blue Love’ is all about being love bombed and dealing with fuckboys, swirling in the ashes of disappointment and rising from them in defiance. I can’t get enough of it. (KC)

Pink Milk – ‘You Will Follow Me to Hell’
A gorgeous piece of goth-rock-electronica from Swedish act Pink Milk here. It’s taken from their excellent new album, Night On Earth, which is inspired by dystopian science fiction fantasies and marks a heavier, darker new era in sound for the band. So gloomy, so sultry, I love it. (KC)

Wisp – ‘Enough For You’
I’ve been soaking up the lush shoegaze sounds of 19 year-old San Francisco-based musician Wisp for a little while now. This single is lifted from her upcoming debut EP, Pandora, which is due on 5th April. Inspired by feelings of self-loathing and false perceptions of ones self, ‘Enough For You’ is another mesmerising blend of her hushed vocals, heavy riffs and driving beats. (KC)

Fräulein – ‘Feels Like Flying’ (Day and Night)
Ahead of the release of their debut mini album in June, GIHE faves Fräulein have released a pair of sister singles, the opening and closing tracks of the collection. With the ‘Day’ version of ‘Feels Like Flying’, the duo express all the swirling excitement and fierce emotions that can come with being in love, showcasing their trademark gritty energy and the immense soaring splendour of Joni’s vocals. The ‘Night’ version, on the other hand, offering a more melancholy reflection as twinkling hooks and subdued beats accompany a more delicate side to Joni’s heartfelt lyricism. Fräulein really are one of the most exciting bands on the scene at the moment, and it’s so wonderful to follow their journey as they go from strength to strength; continuing to hone their sound, not afraid to experiment whilst maintaining their distinctive fierce allure, as these two tracks side-by-side perfectly illustrate. Sink Or Swim, the debut mini album from Fräulein, is out on 14th June via Submarine Cat Records. (ML)

Pixie Cut Rhythm Orchestra – ‘Problem Child’
This is the latest sigle from Dublin-based alt-shoegazers Pixie Cut Rhythm Orchestra, released via Anon Records. I’m always so impressed by vocalist & guitarist Sarah Deegan’s observational lyrics and her clear voice, which genuinely took my breath away the first time I heard it live when the band headlined our GIHE gig at The Shacklewell Arms last in October last year. PCRO are currently working on their debut album, which I look forward to hearing in the near future. (KC)

Fresh – ‘Merch Girl’
Ahead of the release of a new EP next month, London indie-pop legends have now shared the title track. Fizzing with all the jangly hooks that we’ve come to know and love from the band, ‘Merch Girl’ reflects on the struggle that women can face to get to where they want to be within the music industry as it builds with a swirling, shimmering energy. Of the track, vocalist Kathryn Woods explains: “It’s a bit tongue-in-cheek, drawing from clichés of the wallflower, the sidekick, but ultimately it’s empowering and a reflection on the ways that we come into our own as women artists.” Merch Girl, the upcoming new EP from Fresh, is out 19th April via Specialist Subject. (ML)

Gouge Away – ‘Spaced Out’
If you want a dose of dynamic, commanding noise led by a knockout lead vocal – look no further than Gouge Away. ‘Spaced Out’ is one of many antagonistic, impressive anthems on their most recent album, Deep Sage, a record which I have been furiously spinning since it was released earlier this month. (KC)

Pageant Mum – ‘All My Life’
An absolute rager from Bolton based teenagers Pageant Mum here! Izzy Ingham’s powerful vocals soar over the band’s frenzied beats and heavy riffs, providing a cathartic rush of angst and a “plea to all of us here together on a divided rock” to unite against apathy. (KC)

The Menstrual Cramps – ‘Class War’
The latest single from some of our favourite punks, Bristol’s The Menstrual Cramps, ‘Class War’ offers a scathing commentary on the current state of British society as seething hooks are blasted out with a raging energy. A fierce, rallying cry, inciting us to join a union and support workers’ rights, it showcases the band’s immense impassioned drive and ferocious spirit. Of the track, front person Emilia comments: “Women’s rights are workers rights. Always support strikers, and never cross a picket line!” Ahead of their set at Manchester Punk Festival this week, this track cements The Menstrual Cramps as one of the most important bands around at the moment; consistently able to create a perfect balance of explosive, cathartic rage, alongside an empowering sense of unity. To celebrate the single’s release, The Menstrual Cramps have collaborated with Courier Brewing Company to bring out their very own pale ale – punk and beer, two of our favourite things! And 50p per pint will be donated to vital charity akt. (ML)

pink suits – ‘Are You Gay Yet?’
Ahead of the release of their new album next month, Margate duo pink suits have shared fierce new single, ‘Are You Gay Yet?’ Reflecting on numerous interactions that Lennie’s had throughout their life when people have questioned or confronted them about their sexuality, it’s a seething celebration of queerness delivered with the raw, fierce energy we’ve come to know and love from the band. Lennie explains: “This song was us wanting to be aggressively confident in being noticeably gay. A reclamation of many moments like this when I wanted to yell, ‘Am I gay yet? Fuck yes!’ To tell everyone that they need to get over this shit already. People are gay. I am gay. We are gay. You might be gay too… and that is ok.” Dystopian Hellscape, the new album from pink suits, is out on 1st April. They’re out on tour at the moment, and will be stopping by at Cro Cro Land at Stanley Arts in Norwood on 13th April – we’ll be there DJing, and can’t wait for the epic line-up of faves including Fraulein, Fightmilk, Dogviolet, Whitelands and lots more. Hopefully see you there! (ML)

BCOS RSNS – ‘(First On At The) Buffalo Bar’
Having always hung out with bands, but only ever fantasised about being in one, London scene queen Abi Brady has now made that dream a reality with new band BCOS RSNS. Ahead of the release of their debut album in May, they’ve now shared the first taste of what to expect. Reflecting on the somewhat depressing reality of the large number of music venues that are closing, and the accompanying existential anxiety, it’s an instant indie earworm. Propelled by uptempo beats, fuzzy hooks jangle throughout as tales of London nightlife are recounted with a wonky charm and subtle wit. BCOS RSNS, the eponymous debut album, is set for release on 22nd May. (ML)

The Baby Seals- ‘ID’d At Aldi’
Another taster from their upcoming new album, the latest single from The Baby Seals reflects on the smug joy that comes with being told that you look younger than you are. Propelled by the their trademark catchy yet gritty energy, and a raging sense of fun, ‘ID’d At Aldi’ once again showcases The Baby Seals’ ability to deliver witty-yet-necessary, gloriously danceable punk anthems. And you should definitely watch the ‘shot on location’, action-packed accompanying video. Chaos, the new album from The Baby Seals, is out on 19th April via Trapped Animal Records, and you can catch Kerry from the band chatting about it on our next show on Soho Radio next Monday 1st April! (ML)

Mammoth Penguins – ‘Everything That I Write’
I’ve had such a soft spot for Cambridgeshire band Mammoth Penguins for years now – their 2019 album, There’s No Fight We Both Can’t Win, is probably one of my most played records, and it was such a joy to have them play for us that year too. Ahead of the release of a new album in May, new single ‘Everything That I Write’ examines the dynamics of trust and intimacy in a long term relationship, whilst flowing with all the lilting scuzzy energy and distinctive raw emotion of Emma Kupa’s vocals that I love so much. Here, the upcoming new album from Mammoth Penguins is set for release on 3rd May via Fika Records. (ML)

Brennan Wedl – ‘Fake Cowboy’
A heartfelt ode to East Nashville’s infamous Honky Tonk, ‘Fake Cowboy’ is the new single from Kill Rock Stars signed artist Brennan Wedl (aka my new favourite singer). Rippling with a glistening raw emotion, it showcases the raw emotion of Wedl’s luscious vocals as Americana-tinged stripped-back strumming builds to a gritty, fuzz-filled anthem, with shades of the legendary Sheryl Crow. I think it’s pretty exquisite and – being quite late to the Brennan Wedl party – I can’t wait to hear more from this awesome artist. You can watch a beautiful live rendition of the track here. (ML)

Grace Petrie – ‘Meanwhile In Texas’
I was lucky enough to catch Grace Petrie live at Islington Assembly Hall earlier this month, and it was a truly wonderful and unifying evening celebrating her fantastic latest album, Build Something Better. The whole album is a really beautiful collection, probably her most politically-charged yet, but delivered with her trademark lilting folk-strewn musicality. This is probably my favourite track; reflecting on the increasing wave of misogynist laws that are putting the lives of women, LGBTQ+ and trans folk in danger, it’s a poignant and necessary listen, inciting us to unite and fight against the forces that seek to oppress us. (ML)

Brides – ‘Eat Dirt’
‘Eat Dirt’ is a swaggering dose of queer Southern Gothic Rock from East London band Brides. Inspired by Gabriel Picolo’s graphic novel, Icarus and the Sun, the track is a gritty reflection on what vocalist Hannie McBride describes as a “love that burns too hot and leaves you in the dust.” It’s a brooding anti-love anthem, full of heavy riffs and permeated by a deep sense of lust and longing. (KC)

Nuha Ruby Ra – ‘Fetish 2 Forget’
We’ve been big fans of East London artist Nuha Ruby Ra for a while now, and I love the glitchy cinematic sound of this new single. Her soaring vocals alongside the the industrial, tension building soundscape ooze shades of something that the legendary Trent Reznor might create, which is always welcome here at GIHE! (ML)

NikNak – ‘You Were Supposed To Be Good’
Leeds-based DJ and producer NikNak blends experimental synths, jazz sounds and jungle beats on this eclectic and infectiously good track, which also features Grifton Forbes-Amos and Cassie Kinoshi. Taken from her upcoming album, Ireti, which is set for release on 21st May via Accidental Records, NikNak will be playing live in April at venues in Plymouth, Manchester, Bristol and Glasgow, all tickets are available online now. (KC)

LUCI – ‘Thunder Calling’
This track from US artist LUCI is taken from her upcoming debut album, They Say They Love You, which is set for release on 19th April via Don’t Sleep. I love LUCI’s clear vocals and eclectic instrumentation here. I tried to catch her live at The Great Escape Festival last year but I missed her show – regretting that now! (KC)

Noé Solange – ‘Rise’
I’m super glad I discovered this track from London-based, Dutch-Indonesian producer Noé Solange in my inbox.’Rise’ is the title track from her recent EP, and it’s a dreamy piece of downtempo electronica, inspired by the processes of nature, healing and self discovery. (KC)

Blonde Maze – ‘Beside You’
Any of our regular followers will be familiar with just how much I love Blonde Maze, and so it should come as no surprise that I’m currently completely addicted to her new single. Another blissful offering, ‘Beside You’ shimmers with hazy electronics and heartfelt vocals, as an immersive twinkling soundscape builds. As with everything else that the New York artist creates, this track just provides a perfect soothing antidote to life’s stresses; a truly euphoric sonic catharsis. (ML)

Hinako Omori – ‘cyanotype memories’ (Joe Goddard Remix)
Loving this Hot Chip remix of ‘cyanotype memories’, originally released by GIHE fave Hinako Omori via Houndstooth Records. Joe Goddard has put a playful spin on Hinako’s more tender, slow-building original piece. Hinako’s most recent album, stillness, softness…, is a real treat for the ears. Soothing, intuitive and graceful electronica – totally worth a listen. (KC)

Elsa Hewitt – ‘Wash The Sea’
Another intricate blend of lo-fi synth loops and vocal improvisations from the wonderful Elsa Hewitt here. ‘Wash The Sea’ is taken from her upcoming eighth album, Chaos Emeralds, which is set for release on 12th April. Chaos Emeralds is the result of an intense few years of personal change and growth for the artist, full of field recordings and poetry extracts, all underscored by her trademark magnetic electronica. (KC)

AVR – ‘Etude No.2’ (Philip Glass Rework)
This is a beautiful re-working of a Phili Glass piece by the incredibly talented multi-instrumentalist and producer AVR. Released via Philip Glass’ own label Orange Mountain Music, AVR’s atmospheric re-imagining is also accompanied by a video that was shot in collaboration with French fashion house Mugler. Sonically and visually, this is a total delight. Watch the video here. (KC)

Zemlya – ‘Ether’
I was so pleased to find this experimental soundscape from Brussels-based duo Zemlya in my inbox. Taken from their self-titled EP, this track ‘Ether’ is one of three extended pieces on the record that are inspired by the sounds and rhythms of their inner bodies and surroundings. It’s a truly haunting, hypnotising and disarming listen. (KC)

Birthday Problem ft. Róisín Nic Ghearailt – ‘An Maighdean Mhara’
This is the second track from Birthday Problem, a collaborative electronica project from Irish multi-instrumentalists and producers Matt Harris and Rocky O’Reilly. “As a proud Gaeilgeoir, it’s extremely important to me to show that gaeilge is for gach duine (everyone)”, explains guest lyricist and vocalist Róisín Nic Ghearailt, former member of post-punk band M(h)aol. Written entirely in Irish, Róisín penned the track when she moved back home, and the result is a sultry, brooding soundscape inspired by the tumultuous, alluring nature of the sea. (KC)

Anenome – ‘Fascinate Me’
This is the second single from Dublin post-folk four piece Anenome, lifted from their upcoming EP, Human Remains, which is set for release later this year. I love their dynamic instrumentation; eerie string sounds, brooding bass lines and yearning vocals combine to tantalise and antagonise the senses. (KC)

Kee Avil – ‘Felt’
‘Felt’ is an un-nerving blend of brittle synth textures, aching vocals, twangy strings and erratic beats from Montréal-based experimental artist and producer Kee Avil. Taken from her upcoming second album, Spine, which is set for release on 3rd May via Constellation, the way in which she expertly fuses gritty and gentle elements into her music always impresses me. (KC)

Kira McSpice – ‘Evaporate’
Taken from her beautifully titled upcoming album, The Compartmentalization of Decay, this track from Kira McSpice is a haunting reflection on trauma. Her new record is a deeply personal exploration of life after sexual assault, which the artist personifies through the natural processes of the maple tree. Her exquisite voice and dynamic string arrangements make for striking and hypnotic listening. (KC)

Mere Child – ‘Storms’
‘Storms’ is the latest single from independent artist Aimee Herbert aka Mere Child. Her soft vocals and shimmering instrumentation blend harmoniously together on ‘Storms’ to create a gentle, atmospheric rumination on emotional resilience. (KC)

Holly Munro – ‘Dead Ends’
This latest single from Irish songwriter Holly Munro is a thoughtful reflection on the way in which we choose our paths in life. Inspired by seeing her physical footprints in the sand after finishing a meditation, ‘Dead Ends’ is an emotive and considered exploration “questioning the choices you make and reflecting on how they shape your future in ways you can’t always predict or control.” (KC)

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