Get In Her Ears w/ Celeste Bell 05.12.19

This week, Kate and Mari played some of their favourite new music from the likes of MAITA, Eilis Frawley, Small Man Society, Kate Stapley, LibraLibra and HEZEN.

They were joined in the studio by Celeste Bell, who spoke about her Mother Poly Styrene‘s legacy, and the upcoming documentary film she’s been working on, ‘Poly Styrene: I Am A Cliché’.

Find out more about the film and how to donate to its Patreon Crowdfund here.

Listen back to the show here:

Tracklist
X Ray Spex – ‘Oh Bondage, Up Yours’
MAITA – ‘Can’t Blame A Kid’
Mango – ‘Demons’
King Hannah – ‘Creme Brulee’
Hezen – ‘Whole’
Fassine – ‘Limbs’
Eilis Frawley – ‘Strangers’
Calva Louise – ‘Adelante’
Small Man Society – ‘Songs I Write’
Calista Kazuko – ‘Benzo Belle’
Jaguary Jonze – ‘Kill Me With Your Love’
IVEY – ‘Scream’
LibraLibra – ‘Loverboy’
Toni&Mash – ‘I Want It’
X Ray Spex – ‘I Am A Cliche’
Zola Jesus – ‘Bound’
Foxcunt – ‘Merry Christmas, Fuck The Patriarchy’
Kate Stapley – ‘Hermit’
Peggy Sue – ‘White Christmas’
Suggested Friends – ‘Cygnets’
Tinx – ‘Wait & See’
Frazey Ford – ‘The Kids Are Having None Of It’
Alanis Morissette – ‘Hand In My Pocket’

 

Get In Her Ears @ Notting Hill Arts Club w/ ESYA 30.11.19

Get In Her Ears returned to Notting Hill Arts Club to host another evening of alternative music, headlined by the multi-talented ESYA (Ayse Hassan of Savages/Kite Base/180 db). South London duo Scrounge shared the bill, as we as spoken word artist & drummer Eilis Frawley.

The task of opening the night fell to Berlin-based Eilis, who delivered her unique cacophony of live drums, electronic elements and spoken-word lyrics with captivating precision. Performing singles ‘Strangers’ and ‘Illusions’ (both championed by Radio X’s John Kennedy, who was in attendance), her one woman show felt all the more powerful, as many of her songs are informed by feminist beliefs that align perfectly with GIHE.

Scrounge took to the stage next to perform their savage post-punk noise. Lucy & Luke’s live sets are always a raw, urgent affair; and we felt every beat of tracks ‘Badoom’ and ‘Purpose’. The duo released their EP Ideal, earlier this year, and it’s barely left our ears since. They’re firm favourites of GIHE, and their heavy guitar riffs and knockout drumming sat perfectly between Eilis & ESYA’s sets.

  

Headlining the night and performing her last London show of 2019, ESYA hypnotized us with her dark, brooding electronics. Filled with buzzing synth textures, direct vocals and pummeling beats; her songs flesh out the absurdities of our relationships and interactions with each other. Set highlights included ‘Nothing’, ‘Everything’, and brand new single ‘Blue Orchid’, lifted from her recent EP, Absurdity of ATCG (II) – Emergent Form. She multi-tasks triggering synths, performing  vocals, and plucking bass strings throughout the set, and she’s met with deserved cheers and applause at the end of the show.

Huge thanks to the sound engineer and staff at Notting Hill Arts Club.

Follow the bands on Facebook for more updates: ESYA, Scrounge, Eilis Frawley.

Photo Credit: Jon Mo

Kate Crudgington
@KCBobCut

Get In Her Ears w/ Girls Rock London 28.11.19

Kate & guest co-host Beth were back in the studio this week, playing loads of new tunes from the likes of ESYA, Peach Club, Hinako Omori, Lazybones, God Colony, MeMe Detroit & Sink Ya Teeth.

Alex & Jodi from Girls Rock London joined them in the studio to talk about all the amazing work they do with the organisation which you can find out more about at www.girlsrocklondon.com

Listen back:

Tracklist
Bjork – Human Behaviour
ESYA – Blue Orchid
TELGATE – Cherry Tight
Peach Club – Not Ur Girl
SASSY 009 – Are You Still A Lover
Imogen Heap – Headlock
Hinako Omori – Bank Of Inner Criticisms
Freya Beer – Dear Sweet Rosie
MeMe Detroit – Can’t Get You Out Of My Mind
The Menstrual Cramps – Neo Nazi
I SEE RIVERS – We Don’t Get More Time
Neev – Across The Glass
Ghum – 1000 Men
Nova Twins – Vortex
Tiberius B. – No Smoke
Personal Best – Baby
God Colony feat. Samirah Raheem – Girls
ARXX – Iron Lung
Sink Ya Teeth – The Hot House
Suggested Friends – The Apocalypse (Is Just A Day Away)
Glacier Veins – Grows Back Slow
Lazybones – Crazy
Jelly Cleaver ft. Isatta Sheriff – They Don’t Know
Mari Dangerfield – Enough
Ziemba – Ugly Ambitious Women
Bikini Kill – Rebel Girl

LIVE: Gazelle Twin & NYX present ‘Deep England’ – Queen Elizabeth Hall, Southbank Centre 20.11.19

A deeply engrossing, ghastly, yet intensely beautiful carousel of sound: Gazelle Twin‘s (Elizabeth Bernholz) ‘Deep England’ collaboration with the NYX Drone Choir is unlike anything you’ve ever seen, or heard before. Inspired by the tracks that form Bernholz’s 2018 album, Pastoral, this performance continues her harrowing up of England’s “rotten past” and exploration of its uncertain future.

Through the power of combined operatic voices, St. George-Meets-The-Handmaid’s-Tale costumes, and creative staging; Bernholz and her team have created a claustrophobic, charged gallop of anarchy with this latest endeavour. “What species is this?” questions Bernholz & the NYX choir through their overlapping vocals on ‘Folly’, an apt observation from a group of women who have powerful, beguiling voices. They are all used to full effect during a riveting, acapella rendition of following track ‘Glory’.

Informed by British paganism and ritualistic activity, ‘Deep England’ feels almost supernatural at points, and this is especially noticeable during ‘Fire Leap, lifted from the cult 1973 film The Wicker Man. Multiple recorders and kazoos are played – instruments of nostalgic folly turned in to present, frightening farce – as the women slowly move around the stage, chanting the lyrical motif “Take the flame inside you / Burn and burn below”, like a warped spell.

‘Better In My Day’ abruptly breaks this spell, with its nervous, persistent percussion. It stands out in terms of volume and energy, with Bernholz and her chorus performing frenzied, yet stunted movements whilst they spit and snarl their way through the lyrics. A spotlight on a tree at the back of the stage (which has been present throughout the performance) commands Bernholz to sit under it. The intro synth sequence to ‘Sunny Stories’ begins to play, and she delivers her dark fable under the fake foliage, gently lulling her choir in to following track ‘Golden Dawn’.

‘Throne’ brings Bernholz back to centre stage and down to her knees, as she sings of “insolvency” and eating your debts. Eponymous track ‘Deep England’ closes the performance in the same un-nerving way it began; dimly lit, with the women’s voices seething in unison. Whilst Bernholz’s unique vision was brought vividly to life on her original record Pastoral, it’s with the aid of the NYX drone choir during ‘Deep England’ that her vitriol takes its fullest form. ‘Deep England’ is a phenomenal accomplishment, and a jarring reminder that our past is never too far behind us.

‘Deep England’ Credits:
Gazelle Twin: Elizabeth Bernholz
NYX vocalists: Adelaide Pratoussy, Cecilia Forssberg, Natalie Sharp, Ruth Corey, Shireen Querishi, Sian O’Gorman
Compositions and Music Direction: Elizabeth Bernholz and Sian O’Gorman
Movement Director: Imogen Knight
Sound Associate: Peter Rice
Production and Costume Design: Chloe Lamford
Stylist: Anna Josephs

‘Deep England’ was performed as part of the EFG London Jazz Festival 2019.

Photo Credit: Jamie Cameron

Kate Crudgington
@KCBobCut

LIVE: Björk’s Cornucopia Tour – The O2 Arena, London 19.11.19

An opulent, self aware, stunning two hour performance: Icelandic icon Björk was able to “weave a matriarchal dome” over the heads of her transfixed crowd during her Cornucopia live show at London’s O2 Arena. The music pioneer brought her Utopian vision to life through pitch perfect vocals, beautifully orchestrated collaborative sounds, and breath-taking visuals.

Before the show began, a polite audio recording requested that fans refrain from filming or photographing the show, as this would be distracting to Björk. Surprisingly, the majority of fans respected her wishes, and immersed themselves in listening to the aural grandeur of the Icelandic choir who opened the Cornucopia show against a curtain backdrop laced with tropical flowers.

When Björk’s altruistic vocals broke through the airwaves and the stage curtain parted; it felt like straying into a Midsummer Night’s Dream. Dressed in a unique ensemble and accompanied by performers who were both decorated like, and sounded like birds of paradise; Björk delivered a passionate rendition of ‘The Gate’. A flute ensemble led her in to ‘Utopia’, followed by the divine sounds of ‘Arisen My Senses’ with live harp accompaniment and more stunning visuals.

With a clear focus on her two most recent studio albums – 2017’s Utopia, and 2019’s Virtual Reality record Vulnicura – Björk’s set list, shape-shifting animations and optics truly transcended the fourth wall between fans and performer. The set’s sensuality was heightened by so many elements – the incredible stage design, the affluent costumes – as well as Björk’s willingness to experiment with new forms of sound during live shows. At one point in the set, she sings next to a percussionist who is pouring water over pebbles, with the crowd so entranced that it almost feels like every water drop is audible.

With only a handful of older songs making the cut for this performance (most notably ‘Venus As A Boy’ and a partial rendition of ‘Pagan Poetry’), whether this was your first time seeing Björk, or your fiftieth time; Cornucopia is an audio & visual force unlike any other. Björk’s artistic vision is uncompromising in so many ways, which is made especially clear towards the latter part of the show.

Her elaborate spectacle is underscored by a sincere desire to highlight the current climate crisis we are all witnessing. A series of words were projected on to the veil-like stage curtain, urging all to imagine a brighter future under that “matriarchal dome”, with the final statement – “Imagine a future. Be in it” – prompting applause from the crowd. There was a video message from climate crisis activist Greta Thunberg during the finale too, further encouraging fans to practice what Thunberg passionately, and necessarily preaches.

A performance that – despite this review – transcends the barriers of language; Björk’s Cornucopia show deserves to be seen in all its live glory. Its potent message about protecting the earth, and each other, still rings true long after the spotlight fades out. Björk’s vision serves as a reminder to all that altruism and ingenuity mean nothing if there’s not a planet for us all to share, and experience them on.

Kate Crudgington
@KCBobCut

Get In Her Ears w/ Piney Gir 21.11.19

Kate was back in the studio this week with guest co-host Beth White. They played a plethora of new music; featuring highlights from ARXX, Bitch Falcon, PONY, Polly Money, The Menstrual Cramps, The Baby Seals, Nomke & Fightmilk.

Piney Gir joined them in the studio to perform acoustic versions of her tracks ‘Dream Catcher’ & ‘Great Pretend’ and for a chat about her recent album, You Are Here. We can’t wait to have her headline our FREE GIHE gig at The Finsbury Pub on Fri 14th Feb 2020 (event details here).

Listen back:

Tracklist
TLC – No Scrubs
Grimes – So Heavy I Fell Through The Earth
Bitch Falcon – Damp Breath
ARXX – You Got What You Want
REWS – Birdsong
Jemma Freeman – Hard Times
PONY – Limerence
Honeymoan – Still Here
Fightmilk – Four Star Hotel
Glacier Veins – Not Gonna Stay
Eilis Frawley – Illusions
Phlake – Baby Steps
Dutch Mustard – Get What You Want
Scrounge – Purpose
Pongo – Quem manda No Mic
Ren Harvieu – Teenage Mascara
Polly Money – Twntys
The Menstrual Cramps – Idols
Deux Furieuses – Let Them Burn
Nomke – Ended (by the morning)
Claire Foxx & The Antisocial Justice Warriors – Problem Child
Breakup Haircut – I Don’t Wanna Do Things
The Baby Seals – My Labia’s Lop-sided But I Don’t Mind
Berries – Written In Paint
Nao – In The Morning
Amy Fitz Doyley – Ears
Avril Lavigne – I’m With You

ALBUM: Sea Change – ‘Inside’

Peel away your inhibitions and join Norwegian electronic artist Sea Change (aka Ellen Sunde) as she navigates a personal metamorphosis via club inspired beats on her new album, Inside. Alongside co-producer and mixer Andrew Murray, Sunde has crafted seven ethereal, supremely catchy tracks that make her sound like she could be the introverted distant relation of Fever Ray.

Eponymous track ‘Inside’ has a brief duration, but in the space of two minutes Sunde outlines the direction of her album. Sparse synth sounds and hyper-conscious, introverted lyrics – “Come with me inside / my skin feels too tight” – alert listeners to the beginning of her journey towards breaking out of her shell. This idea is taken to a different level on following track, ‘Stepping Out’. Through a fusion of disjointed beats and atmospheric synth textures, Sunde navigates the idea of transforming into an animal.

“Let me possess you / Let me destroy you” she delicately threatens on ‘Something Else’, a captivating four minute soundscape full of altruistic synth patterns and a blend of soft, then reverb-strewn vocals. This quiet anger permeates following track ‘Scratch That Itch’. The percussive click that fills the opening feels like a subtle nod to the itch in the song’s title. Sunde softly sings “I have a white hot anger / I’m slowly setting it free” over mellow synth textures and looping beats that sit in contrast to to emotion she’s expressing. This contradiction in sound and lyricism is what makes Sunde’s music so compelling.

The intimate ‘What Makes’ is truly intoxicating. “I wear my body inside out for you” she muses, over drifting beats and ambient synths. ‘The Bed’ is an equally emotive lament about the “skin and dirt” that sullies the sheets and the memories of stale love. Closing track ‘Flown’ is a breath of fresh air, a four minute rumination on freedom and letting go.

“When I made this record I tried to channel the same state of mind I have when I go clubbing” Sunde explains. “Not overthinking everything, like I usually do, but instead embracing my impulses; working intuitively, almost anti-intellectual.” Her decision to work this way has resulted in a genuinely impressive collection of instinctive, immensely enjoyable soundscapes that can fill busy dancefloors, or private moments of introspection in dimly lit bedrooms. Listen below…

Photo credit: Fotini Chora

Kate Crudgington
@KCBobCut