ALBUM: Problem Patterns – ‘Blouse Club’

Since they shared their debut single ‘Big Shouty‘ with us back in 2020, Problem Patterns have been lighting up our musical radar with their relatable, riotous anthems. The Belfast-based DIY punks have progressed from making music together as a hobby, to becoming a personal favourite of Riot Grrrl icon Kathleen Hanna, winning a Northern Irish Music prize, and supporting the likes of Le Tigre and Dream Wife on tour. These accomplishments are the product of sheer determination, authentic friendship and a shared defiance in the face of adversity.

On their debut album Blouse Club, Alanah Smith, Bethany Crooks, Beverley Boal and Ciara King use their collective talents to rage against misogyny, classism and homophobia in both societal and industry spheres. Not defined by traditional band structures, Problem Patterns routinely switch up instruments and mic duties for their songs, which makes for a refreshing take on the subject they’re tackling. This collective instinct, raw emotion and radical resilience permeates each of the twelve tracks on their debut full length record.

Powerful opener ‘Y.A.W‘ – an acronym for ‘Yes All Women’, antagonising the social media hashtag ‘Not All Men’ – is a visceral rumination on the universal rage and despair that permeates our consciousness in the wake of public violence towards women, in particular, the misogynist killings of Sarah Everard and Aisling Murphy. It’s a vehement, necessary anthem for women and girls who have spoken out against violent misogyny only to be told they’re “just a bitch who can’t take a joke”.

As Alanah demands “Who do we call for help? / When the help seems like a threat to me?” her bandmates create a cathartic cacophony of relentless sound around her. ‘Y.A.W’ is such a direct moment of unleashed anguish that it sets the precedent perfectly for everything that follows on Blouse Club. The aptly titled ‘Big Shouty’ is based on the band’s own personal experiences of sexist bullshit, with each verse tackling some of the comments they’ve received during their time together. Problem Patterns’ ability to recycle this rage into hard-hitting, but hugely enjoyable anthems is what makes Blouse Club so compelling.

Whether it’s Bev gleefully chanting “When the people are hungry / they’ll eat the rich!” on ‘Advertising Services’, Ciara screaming through the chorus on ‘A History Of Bad Men Part II’, or Alanah acknowledging the burnout that comes with chronic illness on ‘Picture Of Health’ (“I will never be the picture of health / I just wanna be better to my self!”) there’s always a palpable sense of relief when Problem Patterns unpack these unfiltered feelings and frustrations. Drummer Beth undoubtedly feels this in every cell of her body when she steps up to the mic to perform the excellently named ‘Lesbo 3000’. She directly calls out the homophobia experienced by queer women, with her extended screams of “Call me a Dyke!” making for a bold and empowering moment of reclamation.

The band serve listeners another vital dose of this empowerment on the seminal ‘TERFs Out’. Alanah rightfully highlights that “LGB is nothing if not for the T!”, as they tackle transphobic attitudes. The track reiterates all that Problem Patterns stand for and provides a vital statement of support for their trans friends and fans in the process. The anthemic ‘Letter Of Resignation’ flows in a similarly cathartic vein, as Bev steps forward to celebrate queer ally-ship and tear down those who discriminate against the LGBTQ+ community, specifically in places of employment. “I’m standing up for who I believe in / you can’t fire me, I’m leaving!” she chants in playful defiance, surrounded by riotous riffs and marching beats.

On ‘Pity Bra‘ (which GIHE premiered ahead of the album’s official release!), Alanah tells the story of an important night that Problem Patterns spent watching Sleater-Kinney back in 2020, that strengthened the creative foundations of the band. It serves as an interlude on Blouse Club, but it’s transient moments like this that accurately reflect the importance of nurturing platonic bonds, as they can be just as passionate and fulfilling as other relationships.

The band provide further aural antidotes and release more pent up frustrations on ‘Who Do We Not Save?’ and ‘Poverty Tourist’. The latter calls out the appropriation of working class culture in the music industry, whilst the former takes aim at the incompetent Tory government and their continued attempts to privatise the NHS. Both are bursting with the group’s trademark empathy, anger and wit, helping to offset the anxiety of the uncertain times we’re currently living through.

Named after the unofficial speakeasies that were frequented by women in the wake of World War II when they were denied the right to drink in public bars, Blouse Club is the musical manifesto of four friends whose sound refuses to remain underground. Together, Problem Patterns use their collective talents to create riotous feminist punk anthems that provide comfort and catharsis in equal measure, and their debut album is a powerhouse example of these undeniable skills.

Follow Problem Patterns on bandcamp, Spotify, Twitter (X), Instagram & Facebook

Photo Credit: Carrie Davenport

Kate Crudgington
@KCBobCut

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PREMIERE: Problem Patterns – ‘Pity Bra’

GIHE favourites Problem Patterns will be sharing their debut album, Blouse Club, in less than 24 hours! To help celebrate the release, the Belfast-based Riot Grrrls have taken the pragmatic and very punk approach of sharing seven unreleased album tracks, each with individual DIY music videos, in advance of the album’s official release via Alcopop! Records tomorrow.

GIHE are honoured to be exclusively hosting the video for the delightfully named ‘Pity Bra‘, which features on the new record. Not defined by traditional band structures, Problem Patterns routinely switch up instruments and mic duties for their riotous songs, which always makes for a refreshing take on the subject they’re singing about. On ‘Pity Bra’, Alanah Smith takes the lead and tells the story of a very important night back in 2020, that strengthened the friendships and the creative foundations of Problem Patterns.

“This song is a true story and it explains itself,” explains Alanah about the track. “We went to Dublin to play a show for A Litany Of Failures, and the next day we all had a band trip to go see Sleater-Kinney. It was such a wonderful weekend, we ran into so many friends at that show. It was just a few weeks after that when we went into lockdown. That was the last trip we all had outside of Belfast for a really long time.

It is such a joyful memory for all of us. It was just this really lovely time where we went out for dinner with friends, played a show, saw one of our favourite bands – not a care in the world or any idea of what was about to come. I still remember the moment I was standing in that crowd and saw Ciara sneaking by me with the biggest grin on her face. Moments later Corin Tucker was holding our band shirt on stage. We absolutely do not advocate for throwing things at musicians, but in this case it gave us something funny to sing about later.

The song is sort of like an interlude on the album, the end of side A. It’s definitely the most gentle track and it’s very nostalgic for us. I thought the only possible video for it would be a montage of our time together so far. It’s a lot of spliced clips of things from our personal phones, as well as some behind the scenes moments filming live sessions, touring, music videos. There’s a few familiar faces in there. It’s all very sweet and sentimental.”

Fresh from supporting Dream Wife on their Irish tour dates and recently tipped as Ones To Watch by The Guardian, Problem Patterns also performed live on BBC 6Music and supported electro-punk icons Le Tigre on their Manchester and Glasgow tour dates earlier this year, as well as playing a standout set at Brighton’s Great Escape festival in May.

It’s been a joy to witness the Alana, Ciara, Bev and Beth’s hard work pay off over recent years, and we can’t wait to host the band live in London for the second time at their SOLD OUT headline show at the Sebright Arms in Hackney on Friday 17th November, supported by Fightmilk and Dogviolet (join the wait-list on DICE).

We wholeheartedly congratulate Problem Patterns on the release of their knockout debut album. Pre-order your copy of Blouse Club here. The band have shared the remaining 6 videos on other respected music publications, so make sure you keep your eyes peeled for those too!

Watch the DIY video for ‘Pity Bra’ below.

Follow Problem Patterns on bandcamp, Spotify, Twitter, Instagram & Facebook

Photo Credit: Carrie Davenport

Kate Crudgington
@KCBobCut

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LISTEN: Problem Patterns – ‘Lesbo 3000’ / ‘Poverty Tourist’

GIHE favourites Problem Patterns have returned with a double dose of delightful, disruptive noise on their AA single release ‘Lesbo 3000’ / ‘Poverty Tourist’. Taken from their upcoming debut album, Blouse Club, which is due on 27th October via Alcopop! Records, the Belfast-based Riot Grrrls tackle homophobia and working class appropriation on their anthemic new tracks. We can’t wait to hear both of them live when the band headline for us at the Sebright Arms in Hackney on 17th November (tickets are cheaper in advance and available from DICE).

Not defined by traditional band structures, Problem Patterns routinely switch up instruments and mic duties for their riotous songs, which always makes for a refreshing take on the subject they’re singing about. Following on from previous single ‘Letter of Resignation’, which saw guitarist Beverley Boal step forward on vocals, on ‘Lesbo 3000’ drummer Bethany Crooks takes the lead as she calls out the prejudices around homophobic language and reclaims it for herself and the LGBTQ+ community.

“‘Lesbo 3000’ was written partly out of frustration and also to reclaim and have ownership over my sexuality,” explains Bethany. “The frustration is that lesbianism is consistently invalidated, we’re told that we just haven’t ‘met the right man’ yet or that some random man in a bar has a magic appendage in his trousers that will completely negate your attraction to women. The reality is that homophobic attacks are becoming more and more consistent with right wing social media emboldening bigots, while ‘lesbian’ remains one of the top search topics on all porn websites. (Mostly) men think that lesbians exist for their sexual gratification, but if they see two women holding hands they go absolutely berserk.”

“I also thought it was important to reclaim the slur ‘dyke’,” she continues. “I’ve been called a dyke multiple times by homophobes who want to hurt me, but if I can reclaim that word it completely takes the power out of it. Yes I am a dyke. And that feels really powerful to say.” With the aid of some truly stunning local drag artists in the accompanying video for ‘Lesbo 3000’, Bethany and the grrrls gleefully dismantle these damaging prejudices and riotously reclaim the language that doesn’t belong on the tongues of ignorant bigots.

“We really wanted it to feel joyful and silly even though the song has quite a serious subject matter,” Bethany comments on the visuals, which were directed by long-time collaborator Brendan Seamus. “We decorated the set like a big gay party! We toyed for months with the idea of paying homage to ‘Addicted To Love’ and ‘Man I Feel Like A Woman’, and thought that involving local drag artists would be a perfect tonic to the constant depressing news cycles surrounding LGBTQ+ attacks and discrimination we see nowadays. Carl Hartt, Hester Ectomy, Xxxpresso Martini and FRUITY were the backing band and they all absolutely killed it. We are so grateful that they even wanted to participate in the video, and they really served 80s hair metal/bimbo/sexy punk realness.”

Problem Patterns are driven by a strong DIY ethos and as a working class band, they feel it’s important to call out the appropriation of this culture in the music industry and further afield. Their second AA-side track ‘Poverty Tourist’ does just that. Fuelled by the riotous dual vocals of Alanah Smith and Ciara King, as well as King’s potent bass line, the track is a Beastie Boys-style blast of pure punk catharsis that came about during the band’s final writing session before they recorded their album.

“We’re a working class band and there are experiences that are very unique to us which we have bonded over,” Alanah explains about the track. “It’s incredibly frustrating to see those struggles co-opted by folks who have never had to worry about money. The kind of people who will dig around charity shops to ‘curate’ bits for their Etsy store where they will sell these items at 10x the price. Charity shops exist to serve the community and there are people that depend on them because there are no other options. It’s the rich kids moving into impoverished areas to make themselves sound more interesting, driving up the rent and gentrifying the area.”

“This sort of romanticisation of the poor is very prevalent in the music scene, especially in bands (and industry types) who align a working class background with being perceived as more authentic. People dress up and change their accent for personal gain only, but as Jarvis Cocker once said, ‘If you called your dad he could stop this all’ – and of course, he also said, ‘Everybody hates a tourist.’ It’s cosplay, it’s gross, and it’s always obvious when someone is doing this.”

Fresh from performing live on BBC 6Music, supporting electro-punk icons Le Tigre on their Manchester and Glasgow tour dates and playing a knockout set at Brighton’s Great Escape festival earlier this year, it’s been a joy to witness Problem Patterns’ hard work pay off. Listen to ‘Poverty Tourist’ below and pre-order your copy of their debut album, Blouse Club, here.

Follow Problem Patterns on bandcamp, Spotify, Twitter, Instagram & Facebook

Photo Credit: Carrie Davenport

Kate Crudgington
@KCBobCut

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FIVE FAVOURITES: Scrounge

Since we booked South London duo Lucy Alexander and Luke Cartledge aka Scrounge as support for our GIHE gig at The Windmill back in 2018, we have been avid fans of their vital, frenzied art-punk sounds. Featured on our ‘Albums of 2022‘ list, their debut mini-album, Sugar Daddy, is full of gritty, relatable anthems that hit a nerve and showcase the passion and determination that underscores all that they do. The duo have always remained loyal to their DIY roots, and their latest single ‘Corner Cutting Boredom’ is accompanied by a limited edition flexi-disc and a zine that “documents and celebrates what’s going on south of the river” in a thriving underground music scene.

We think one of the best ways to get to know a band is by asking what music inspired them to write in the first place. We caught up with vocalist and guitarist Lucy to ask about her “Five Favourites” – five songs that have inspired Scrounge over the years. Check out her choices below and scroll down to listen to Scrounge’s single ‘Corner Cutting Boredom’.

 

1. Pavement – ‘Fame Throwa’
As soon as I met Luke at Goldsmiths, I knew that I wanted to be his mate. It might’ve been that he looked “dead indie” but I quickly found he is one of the most thoughtful and caring people in the world. Sometimes we’d swap song recommendations, other days we’d just have a few pints at the Marquis where we once talked about how South East London lacked a scene for guitar music, despite having so many amazing venues. At that moment, along with designer Amanda Tooke, we vowed to make our own collective to ‘Support South London and Support Your Mates’. We named it Fame Throwa after Pavement’s chaotic hit and that song inspired us to work together to run a night, radio show and record label. Although Fame Throwa is now dormant, it was our “in” to DIY activism and it introduced us to some truly outstanding human beings.

2. Italia 90 – ‘New Factory’
When we started Scrounge, we had no idea what we were doing; Luke didn’t know how to play drums and I played the acoustic guitar. We were constantly looking for nights – like Get In Her Ears – that we could perform at and bands we’d compliment on a bill. Italia 90 were recommended to us by our mate Ben so we booked them for a Fame Throwa night. We REALLY wanted to play a show with them and, as no one would book us, we decided to book them. ‘New Factory’ is a staple in their set and we’ve spent many nights shouting along to it in sweaty south London venues. This year, Italia 90 released their debut album, Living Human Treasure, and we were delighted to get a mention in the liner notes. As much as they like us, we can guarantee that we like them more and we’ll be forever grateful for their influence.

3. Piglet – ‘It Isn’t Fair’
Charlie Loane is one of South London’s most prolific performers. Over the years, we’ve watched him perform in loads of different bands but Piglet, Loane’s solo project, is utterly incredible. As an activist and beautiful songwriter, Piglet captures everyday life and the trans experience through his poignant lyrics. ‘It Isn’t Fair’ is not only anthemic but a real life representation of the awful standard of trans rights in the UK. Trans rights are human rights and as allies, we need to do better. This song is a call to action and a reminder that we can and must do more.

4. CHUNKY – ‘GNG’ (Guts N Grets)
When I first started performing at open mic nights as a teenager, I constantly sought new opportunities for young musicians. I quickly joined The Albany Theatre’s youth music group and was lucky enough to be mentored by some of the country’s most influential artists. Chunky, an MC from Manchester, mentored on the project and really believed in my music. He supported my early solo project, Fame Throwa and is equally supportive of Scrounge. Despite our genre differences, we’ve ended up working together on a few different projects and I’m in awe of his DIY attitude and work ethic. At the beginning of this year, Chunky released his long awaited debut album, Somebody’s Child, and ‘GNG’ is a standout single that really shows off the quick lyricism and sharp wit that inspired me as a young songwriter.

5. Kae Tempest – ‘Hold Your Own’
It feels like I’ve seen Kae Tempest perform a million times over the years and each performance is always as impactful as the last; it really doesn’t matter whether they’re performing poems, a play, or their music it’s always the same outcome. ‘Hold Your Own’ was a collection of poems by Tempest which I stumbled upon at university and the much needed catalyst I needed to truly accept myself for who I really am. The titular poem also features on Tempest’s album, The Book of Traps and Lessons, and is an aural reminder to persevere through adversity while remembering your own self worth. It’s a love letter to our shared community that I cherish.

Thanks to Lucy for sharing her Five Favourites with us!

Follow Scrounge on bandcamp, Spotify, Facebook, Twitter (X) and Instagram

Listen to Scrounge’s latest single ‘Corner Cutting Boredom’ below

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