debut EP – Get In Her Ears

Track Of The Day: Electric Pets – ‘That Way’

‘That Way’, the second single from Electric Pets’ debut EP is a bold, empowering battle-cry for anyone who’s ever felt like they don’t fit in. Opening with the raw power of Emma Buckley’s unwavering vocal, the lyrics defiantly tell us who Buckley is and dismiss what others tell her she should be.

But the song’s intimate, confessional tone soon steps up, buoyed by scuzzy, swaggering guitars, to become a proper garage-infused rock ‘n’ roll banger. Buckley sings: “Maybe I should bite my tongue and try to play the game?” But we know she won’t. This is a front-person – and a band – that doesn’t play by the rules. Of the track, Buckley explains:

“You could say ‘That Way’ is my autobiographical ‘f**k you’ to the music industry. I spent so long being too much of something to someone and not enough of the same thing for someone else. I needed to remind myself who I was.”

And it really is the perfect redemption song. With its sassy, grown-up pop polish and uncompromising lyrics, ‘That Way’ is a great introduction to a band that are brave and completely badass. More please!

https://open.spotify.com/track/6F5FcWiqbtNzxcPPSpu9mt?si=04458fb72cf94c1a

Vic Conway
@thepicsofvic

‘That Way’ is taken from Electric Pets’ Rhinoceros EP, which is out soon on Reckless Yes records.

July 14, 2022July 14, 2022

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Track Of The Day: Kathleen Frances – ‘Boy’

What a voice! Bristol artist Kathleen Frances and her mesmerising vocals are here with ‘Boy’, the third single from her freshly released debut EP Through The Blue.

‘Boy’ is mellow and at times devastating, but strong and cathartic. Frances explores the pain of a break-up whilst offering a sense of comfort and assurance. It’s one of those songs where you feel the need to stop everything you are doing and just listen.

The simplicity of ‘Boy’ is poignant; there is a sense of restraint and balance in the sparse instrumentation. It doesn’t need anything else – it perfectly captures a stunning intimacy. The vocals will pull you into the song, as Frances’ warm baritone voice enchants the ears, creating a whole soundscape in itself and unmistakably driving the song. The track is brimming with emotion, yet somehow it finds a sense of reassuring sense of calm. Pulsing piano chords gently accompany the vocals, adding to this reflective space. Of the track, Frances explains:

“This one took me ages to write. I was really hurting from a breakup. I just wasn’t ready to go there. I had a few nice ideas but nothing that felt right. It was all too surface level. I had to find what I really felt about it deep down, underneath the feelings of betrayal and bruised ego. I had to figure out what I really wanted from this person now… Things change, people change. It’s sad but it’s also hopeful, it allows you to take stock and figure out what you really want. With this song, I was attempting to get the balance right between cathartic sadness and self-assuredness.”

Through The Blue, the debut EP from Kathleen Frances, is out now. And you can catch Kathleen Frances live on her tour this March and in May – details here.

Jaz Kelly
@surfjaz

Photo Credit: Michaela Frances

March 9, 2022March 9, 2022

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EP: Stef Fi – ‘Girlhood’

A poignant reflection on grief, growth, and grappling with the repercussions of a racist world; Stef Fi has shared her debut EP, Girlhood, via Sistah Punk Records. Best known as the vocalist & guitarist of black feminist punk band Big Joanie, Stef Fi (aka Stephanie Phillips) has shared four alt-punk tracks that provide “sketches of a girl” resisting hate, and trying to find hope in the harshest of realities.

Mellow opener ‘What Remains’ broods with quiet intensity, setting the pensive, yet resistant tone of the EP. “Open wide and swallow divine” Stef directs, over steady beats and ominous guitar riffs. Her punk attitude breaks through on following track ‘Nowhere’. The quiet, uncertain lyrics of the verses contrast well with the distorted riffs and defiant words in the chorus.

“This town will be the death of me”, muses Stef on the eponymous ‘Girlhood’. The song was inspired by the footage of police attacking a young black girl at a Texas pool party in 2015. Extrapolating on what the victim may have felt, Stef delivers the line “I had spoken then I saw, I knew it was my time to fall” with calm resignation and maturity, powerfully contrasting with the violence the young girl experienced. It’s a jarring listen, but one that’s delivered with care and gentility.

‘The Garden’ closes the EP, with its rolling riffs, rumbling percussion, and more of Stef’s yearning vocals. Despite being rooted in inequality, Stef Fi’s Girlhood is a considerate, tender offering that showcases her talent as a songwriter, and as a woman who is dedicated to spotlighting the struggles of others.

Order your copy of Stef Fi’s debut EP on bandcamp. Follow her on Twitter for more updates.

Photo Credit: Nick Paulsen

Kate Crudgington
@KCBobCut

April 24, 2020April 24, 2020

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ALBUM: Gordian Stimm – ‘Your Body In On Itself’

A raw, experimental new offering, electronic artist Gordian Stimm‘s debut album Your Body In On Itself, is a vivid exploration of bodily autonomy. Released via independent Leicester-based label Amateur Pop, Stimm (aka Maeve Westall of itoldyouiwouldeatyou) has crafted six unpredictable, intriguing soundscapes that range from uplifting and melodic, to sparse and unusual.

At times reminiscent of early Passion Pit or Crystal Castles, Stimm’s record is a visceral collection of distorted, yet dance-able beats. Opener ‘Bleeding Out In a Septic Tank’ hosts six dense minutes of erratic synth textures and a blend of both mangled and clear vocals, that will either alienate or invite listeners in to their obscure vision. The edgy, disjointed beats and scratchy, soaring electronics of ‘Pia Mater (Sorry Mate)’ see Stimm extrapolating on the “retail price of emotional labour” and the fear of failure with an unexpected buoyancy.

The ominous, yet oddly uplifting ‘Miscellaneous Body Parts’ shows Stimm at their best, mixing the foreboding and the freeing together in one track. The dark, humourous images of tapeworms burrowing into spines on ‘The Very Best Of Friends’ provides a strange distraction, before the crashing beats and overlapping vocals of penultimate track ‘Song For Self Help’ disorientates listeners further. The atmospheric, kaleidoscopic sounds of ‘Synthetic Retinas’ close the record, stimulating the senses right until the last beat.

There’s an enjoyable violence underscoring Stimm’s vision, a gleeful, sometimes painful dissecting of the self and the social cues that help to construct or dismantle it. Your Body In On Itself is a bold, surreal listen from a bold, surreal artist and one we highly recommend.