PLAYLIST: June 2019

Whether you’re loving this “heatwave” or loathing the humidity; we’ve got some fresh new music on our June playlist to quench your listening thirst. Take some time to scroll through our words and make sure you hit play on the Spotify link at the bottom of the page…

Friedberg – ‘Go Wild’
Indie-pop quartet Friedberg have been on my radar since I played their desert-rock debut ‘BOOM’ earlier this year and I am just as into their latest offering. Scritchy synths and some classic reverb all mixed into ‘Go Wild’, which is out now via LGM Records. (Tash Walker)

The Paranoyds – ‘Girlfriend Degree’
I’m loving the slacker-grunge sound of ‘Girlfriend Degree’ from LA newcomers The Paranoyds. Speaking about the track, the band explain: “[it’s] a call to arms, a reminder to be a supremely self-loving woman, to just do you. It’s cool to be a girlfriend or wife or whatever, but there’s so much more to being a woman than that.” Couldn’t agree more girls! The band’s debut album Carnage Bargain is set for release on 13th September via Suicide Squeeze. Check out the accompanying video too. (Kate Crudgington)

Sleater Kinney – ‘Hurry On Home’
We cannot wait to see legends Sleater Kinney in February!! And this incredible latest single from the Olympia band fills us with excitement for their upcoming album The Center Won’t Hold, out in August. (Mari Lane)

Witching Waves – ‘Best Of Me’
The latest single from trio Witching Waves, ‘Best Of Me’ races with a jangly twang and punk-fuelled energy. Alongside fast-paced hooks and raw, impassioned vocals, I just can’t get enough of its visceral power. Witching Waves’ latest album Persistence is out now via Specialist Subject Records, and we cannot wait for them to headline for us at The Finsbury on 12th July, along with Milk Crimes, Finish Flag and Hubert’s Friend. (ML)

Scrounge – ‘Purpose’
Q. Will there ever be a day when us GIHEs girls don’t rave about the brilliance of South London duo Scrounge?
A. NO.
Their latest track ‘Purpose’ is equally as formidable as their previous singles and we urge you to see them live if you can. (KC)

ARXX – ‘Iron Lung’
Q. Will there ever be a day when us GIHEs girls don’t rave about the brilliance of Brighton duo ARXX?
A. NO.
We had such a laugh with Clara & Hannah on our radio show last week (listen back here) and they treated us to an exclusive acoustic version of ‘Iron Lung’, but we love it in it’s full fury too. (KC)

Nova Twins – ‘Devil’s Face’ 
Georgia & Amy never fail to fill my ears with cathartic, addictive, abrasive sounds and this latest single is no different. Their distorted bass lines and furious vocals make my heart swell, and I can’t wait to catch the duo live again at The Sebright Arms in September (get your ticket here). (KC)

Gaffa Tape Sandy – ‘So Dry’
Bury St. Edmunds band Gaffa Tape Sandy have now shared a new single taken from their upcoming EP Family Mammal. Propelled by an angst-driven scuzzy energy, ‘So Dry’ blasts out jangly melodies alongside luscious harmonies, creating a massively infectious summer delight, with a fierce, gritty edge. Of the track, the band explain: “We don’t really like arguing as a whole, but expressing yourself is very important, so we like to think of this song as us raising our voices anonymously at the people who make us mad as hell”.
Family Mammal is out 9th August via Alcopop! Records. (ML)

Show Boy – ‘Like That’
Following his last infectious offering ‘Video’, Show Boy’s latest single blends hyper-real production elements with introspective songwriting. An impassioned UK Garage-tinged pop anthem, ‘Like That’ perfectly juxtaposes catchy summer beats with heartfelt reflective lyricism, that will stick in your ears on first listen. Of the track, Show Boy explains: “It’s about the confusion and panic felt when you realise you have more affinity with a past snapshot of yourself than the person you currently are”.
Surreal, Show Boy’s upcoming EP, is set for release next month. (ML)

Haiku Salut – ‘Going Back’
Haiku Salut are an instrumental trio from the Derbyshire Dales, consisting of multi-instrumentalists Gemma Barkerwood, Sophie Barkerwood and Louise Croft. Between them, they play accordion; piano, glockenspiel, trumpet, guitar, ukulele, drums, and melodica. Their music is a truly delightful, immersive experience and their dreamy electronic soundscapes continue to distract me from whatever I’m doing. ‘Going Back’ is one of the double A-side singles taken from their forthcoming album The General due out on Secret Name 2nd August. (TW)

Sui Zhen – ‘Perfect Place’
Taken from her upcoming album Losing, Linda, ‘Perfect Place’ is the latest single from Melbourne-based artist Sui Zhen. Inspired by how we exist in the digital age, the track flows with glitchy, playful beats and twinkling, ‘80s-inspired hooks alongside Zhen’s quirky, honey-sweet vocals. An instantly infectious slice of sparkling alt-pop. Losing, Linda is out 27th September via Cascine. (ML)

Joviale – ‘Ride Away’
Influenced by the likes of Billie Holoday and Nina Simon, Joviale’s music inspires a dynamic mix of pleasure and pain. This is her second single, taken from her upcoming EP Crisis which is set for release on 6th of September via Blue Flowers. (KC)

Rachel Chinouriri – ‘Mama’s Boy’
Full of neo soul and heavy on the bass… this song just feels full of summer. (TW)

Jeannel – ‘Everything’s The Same’
Berlin based Jeannel has the most gentle haunting vocals filled with so much emotion. (TW)

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ALBUM: Witching Waves – ‘Persistence’

Founded just over five years ago by Emma Wigham and Mark Jasper, Witching Waves are a DIY post-punk trio hailing from London. Sharing the name of an amusement ride from Coney Island, New York (and later Blackpool, England) Witching Waves is as raw as its namesake; a juxtaposition of metallic melodies and propulsive rhythm.

Having released their debut LP, 2014’s Fear of Falling Down, and 2016’s Crystal Cafe, on the now-defunct Soft Power Records, Witching Waves are now set to release their third album. Joining Wigham’s infectious drumming and Jasper’s angular riffing is Estella Adeyeri on bass guitar. Adeyeri’s addition to the band in 2016, in addition to a relentless touring schedule, sparked the creative energy that culminated into their most confident record, Persistence.

Writing for Persistence started in 2016, with the music recorded over two days in 2017, and mixing done in 2018; hence the name of the album. With their debut, Witching Waves were simply experimenting; Wigham was learning how to play the drums at the time, in the studio, and in front of a live audience. Songs were often recorded not long after they were written. But on Persistence, Witching Waves have taken their time – preforming new songs live, laying the foundations for the LP – resulting in a much more focused release.

This is not to say that Persistence is a more polished record. Recorded live directly to tape within Jasper’s Hackney warehouse studio, Sound Savers, Witching Waves have lost none of their DIY ethics; as is evident from the opening track, ‘Disintegration’. The band recorded the album on their own – with minimal help with the mixes – resulting in much welcome distortion. Without being able to monitor the levels on the tapes, Jasper’s guitar frequently went into the red and Persistence is all the better for it! ‘Disintegration’ is a great example of how these live takes make the record sound so authentic.

Next, Wigham goes full throttle on ‘Best of Me’ – the latest single to be released. Crashing against the drums with ferocity, Wigham displays a sense of discomfort with lyrics that touch upon self-worth and identity. “I can’t move on / I can’t go back / You’ve got the best of me.” The tension throughout is inescapable, but it is the frantic raw energy of ‘Eye 2 Eye’ – a self-described “ode to conflict” – that displays the maturity of a band pissed off. Wigham and Jasper trade vocals that demand your attention amongst scratchy guitar riffing, pulsating bass lines, and clashing cymbals: “When did we decide to talk about it? / How do we begin to talk about it?”

 

Persistence continues to see Witching Waves channel their internal tensions regarding relationships and society into each unapologetic track. An obvious example would be ‘Money’, a song focused on the English capital that is becoming increasingly unaffordable for its many residents. The band’s honesty and emotion is admirable, with each member revealing themselves to the world; their frustrations and discomforts captured on this very personal record.

With Persistence, Witching Waves have produced a brash, complex, and dark post-punk record with pop sensibilities that documents an authentic, ongoing struggle worthy of repeat listening.

Persistence, the upcoming album from Witching Waves, is out 5th April via Specialist Subject Records.

Ken Wynne
@Ken_Wynne

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Live Highlights of 2018

Despite being a pretty scary year in the grand scheme of things, 2018 has actually been exceptionally great for new music. And seeing live music has, as ever, provided a necessary catharsis and enjoyment; forever giving us something to look forward to. 

Having witnessed an uncountable amount of women/non binary folk being awesome on stage this year, it was hard to pick out our highlights … But, from some of our DIY faves, to Fever Ray and Courtney Barnett (and – yes – Indietracks Festival features twice, it’s that great), here are a few events that stood out as particularly special for us… 

Witch Fever Live @ The Finsbury, January:
2018 has been of year of many incredible gigs, not least our own gigs that we’ve been lucky enough to host at The Finsbury. And, whilst I have a massive amount of love and pride in all the gigs we’ve hosted, the year kicked off with a pretty immense one. Manchester’s Witch Fever, who made two six hour coach journeys to be with us, treated us to their frenzied, raucous offerings with an incredible, un-matched power. As front woman Amy’s incredible, snarling energy stole the show, we were all left completely in awe of this band’s formidable intensity. And they weren’t the only amazing band of the night; joining them was the empowering force of The Nyx, the grunge-fuelled energy of ARXX and the gorgeous pop-punk of Militant Girlfriend.
(Mari Lane – Managing Editor/Co-Founder)

Fever Ray @ The Troxy, March:
Fever Ray’s fierce, focused, sold out performance at the Troxy proved she’s an inimitable talent with a vision, generosity, and energy unlike any other. In Fever Ray’s space, no-one is an outsider: everyone is welcome in her warped and wonderful world. Emerging from the lights in her trademark “I heart Swedish girls” t-shirt and bare scalp, from start to finish the sound was flawless. Each lyric, synth sequence and drum beat was more distinct and discernible than the next – if you weren’t there, you definitely missed out.
(Kate Crudgington – Features Editor/Co-Founder)

Petrol Girls @ Shacklewell Arms, April:
Mari and I were so excited to see the brilliant Petrol Girls live for the first time this year, and they did not disappoint. Loud, lethal and life-affirming: their headline show was a raw, frenzied, furious affair. The band packed out the venue with the help of their friends Pretty Pistol and Screaming Toenail (our new favourite band), and played our favourite track ‘Touch Me Again’ with all the ferocity and energy we’d come to expect from this brilliant band of activists.
(Kate Crudgington)

Indian Queens @  Robert Smith’s Meltdown Festival, June:
Hackney trio Indian Queens performed to a packed out Purcell Room at The Southbank Centre this year, after being hand-picked by The Cure’s Robert Smith to play his (exceptionally well curated) 2018 Meltdown Festival. The band delivered a mesmeric, sharply executed performance that ended in a well deserved standing ovation. I felt like I’d witnessed something truly special from the Cool Thing Record signees when I left the building, and I look forward to catching them again in 2019.
(Kate Crudgington)

Indietracks Festival (and its sense of community), July:
There is the smell of long past years in the carriage as the rails clackity-clack below you, the signalman waves from the box as you pass, and behind the sidings crammed with moss-windowed rolling stock the natural amphitheatre of the main stage hoves into view.

Indietracks is hidden away but for those in the know it’s not just the boutique festival quietly winning at line-ups, it’s home. Not only welcoming and familiar, but full of friendship and love. The diversity of the billing, the cute touches and culture-clash between trains and music will delight newcomers but the community sustained between years – by the festival and railway volunteers, each band, every festival-goer – is something to be really astounded by. At a time when togetherness feels more elusive, but is ever more vital, Indietracks should be both celebrated and cherished for the community its nurtured and welcomes home each summer.
(Sarah Lay – Contributor)

Indietracks Festival (and the diversity of its line-up), July:
With our ongoing disappointment at the lack of diversity on the majority of mainstream festival line-ups this year, I was particularly excited to discover Indietracks – one that refreshingly, consistently, champions DIY bands and artists of all genders and genres. And, I wasn’t to be disappointed; the weekend – set in the idyllic Midland Railway Centre near Ripley in Derbyshire – exceeded all expectations.

Ask me about any of my favourite bands of 2018, and they were probably playing at Indietracks Festival. From an array of glorious indie-pop (Wolf Girl, Colour Me Wednesday, Happy Accidents, Worst Place), Feminist punk (Dream Nails, The Baby Seals, Dream Wife) and all the scuzzy, dreamy sounds in-between (Ghum, Sink Ya Teeth, Sacred Paws, Girl Ray), every single band I saw filled me with an empowering sense of joy and blissful gratitude. And I think all those I saw consisted of female identifying/non binary artists.

So, whilst it still seems to be unusual to attend bigger festivals these days and not encounter ingrained misogyny or disrespect of some kind, Indietracks felt like a different world; a safe, joy-filled world, and one jam-packed with all the best music (plus owls and parrots!).
(Mari Lane)

Qween Kwong @ Rough Trade East, July:
I remember this gig for several reasons. Firstly, because I arrived soaked in sweat and rain from the downpour that briefly broke the overwhelming summer heatwave, and secondly because I was lucky enough to interview Queen Kwong before her set. She was just as cool (and as cutting) as I’d imagined her to be, and her live performance was a visceral, loud, defiant example of her songwriting talent.
(Kate Crudgington)

Wendy Rae Fowler @ The Finsbury, September:
I won’t lie; prior to Wendy Rae Fowler headlining for us at The Finsbury this September I was overwhelmingly excited and a little nervous. I’ve been a huge fan of her work over the years, and to have her play for us stands out for me as a particularly special moment (or 45 minutes) of 2018. Immediately creating a captivating, cinematic atmosphere, she filled the room with a majestic sense of wonder, delivering a soul-grabbing, breath-taking set that I’m truly honoured to have hosted.
(Mari Lane)

Courtney Barnett Live In Berlin, November:
Touring her second album, Tell Me How You Really Feel, Courtney Barnett was a sight to behold this year: quite literally. I looked on with envy when the Deal sisters provided backing vocals for ‘Nameless, Faceless’ at the BBC’s Biggest Weekend Festival. But, fortunately, a trip to Berlin also included seeing Courtney live at the city’s Huxleys Neue Welt venue. Seeing the songs played on a larger scale, contrasting with the more laidback atmosphere of songs taken from her debut and early EPs highlighted Barnett’s brilliance and renewed my appreciation of her songwriting.
(John McGovern – Contributor)

 

 

 

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WATCH: Barbarella’s Bang Bang – ‘Cowboy Job’

Dust off your stetsons and straw bales, because Barbarella’s Bang Bang have shared visuals for their latest single ‘Cowboy Job’, and it’s a rockabilly rodeo you don’t want to miss out on. Released via their own label Barbarella Records, the song is a twisted ode to a past relationship.

Fronted by Barbara Pugliese, Barbarella’s Bang Bang are comprised of members originating from Italy, Latvia and London – so their garage-rock sound is infused with influences from classical to punk rock. The ironically titled ‘Cowboy Job’ takes a story of heartbreak and reforms it into one of empowerment.

“This is the first time that I’ve written about something that gave me a lot of grief, with groove”, Barbara explains. “In regards to the satire within the lyrics, I must say, it’s been a very efficient healing method. With humour, the weight of something heavy gets lighter and we can get over things a bit easier. I’m actually grateful for having encountered this in my life, I was inspired a lot artistically. Let’s say that there’s sometimes a pearl to be found in the trash!”

Regarding the video, the band added, “The concept of the video of ‘Cowboy Job’ was to create wonky western Arizona scenery made out of cardboard that would visually reflect a ‘cowboy job style’. We tried our best to come out with some acting episodes that would portray the anger, laughter, humour, charm, and deception conveyed from the narrative of the song…and we did a pretty good job! The team involved in the making of the video were all close mates who are amazingly talented artists and helped efficiently within the process of filming the video… it’s all about the collective spirit and DIY!”

We’re fans of BBB’s DIY endeavours! Watch the video for ‘Cowboy Job’ below and follow Barbarella’s Bang Bang on Facebook for more updates.

Photo Credit: Lou Smith

Kate Crudgington
@KCBobCut

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