INTERVIEW: Gazelle Twin

Elizabeth Bernholz’s life is inherently strange. Whether she is talking backstage with Gary Numan about ghosts, creating dark and exhilarating electronic music under her moniker Gazelle Twin, or immersing herself into normal family life; she embraces the oddity of it all.

Last time I spoke with the producer, composer and visual artist in April 2022, she was in her home studio, reflecting on the tenth anniversary of her debut album, The Entire City. She expressed that she was still using her music as “a way to get through life” and hinted that there was more to explore through this medium. What she was subtly alluding to was her fourth full-length record; the shadowy, spine-tingling Black Dog, released in October last year via Invada Records.

Usually veiled by costumes or characters for all of her work as Gazelle Twin, one of the most startling elements of Black Dog was that Bernholz had removed her mask. Facing her demons with no shield, this bold act paved the way for an exquisitely raw, truly haunting piece of art, on which Bernholz reflects on her experiences with the paranormal, postpartum depression and the powerful fears and inner forces that direct us through life.

When Bernholz performs the album live, it’s another beast entirely. Falling somewhere between a dark lullaby and intense sleep paralysis; Black Dog shape-shifts between plaintive and poignant, ghastly and graceful, as Bernholz switches between spotlights and shadows, standing and seated. She will be bringing this hair-raising performance to Birmingham’s Supersonic Festival on Friday 30th August. Eclectic acts such as Grove, Emma Ruth Rundle, Mary Lattimore and One Leg One Eye will also be playing the festival across the weekend (tickets are available here)

“I love Supersonic, it’s my favourite festival in the UK,” she smiles. The last time Bernholz featured on the line-up was in 2018, performing tracks from her third record, Pastoral. “It’s always a really great crowd and I really love Birmingham as well. This will probably be one of the last Black Dog shows that I do in its current form, too. I’m looking forward to it.”

To date, Bernholz has only performed Black Dog at a small number of venues across the UK since its release in 2023. There are several reasons for the limited shows, including production and logistical touring costs. But there’s another factor too. Bernholz explains that with this particular record, due to its deeply revealing and personal nature, there is a strong emotional toll that comes with each performance.

“Some of the very raw emotions that were pouring out into that record are still being lived now,” she reflects. Bernholz is referring to going through pregnancy, childbirth and motherhood for the second time during the Covid-19 pandemic, and how this led to her excavating her past. “I’m obsessed with the past, which is probably no surprise by now,” she laughs. “I’m one of those people that’s constantly trying to process those periods of my life. Those formative years where you’re working things out and who you are – I’m still doing it. So a lot of those questions that came up are still not answered and still part of my creative occupation really.”

This instinct to examine and understand these parts of herself is part of the process of performing Black Dog live. She comments that layering things with “weirdness” and a “dark charge” allows her to inhabit “another world” when she is on stage, which makes things more manageable, but she was initially very nervous about sharing it with live audiences.

“I do still find the shows hard,” she reveals. “I sit down for a lot of it and I’m making eye contact with the audience, so I make myself as vulnerable as I can be. After a show, often, there’s a lot of adrenaline and tears and I haven’t always had that. I [usually have] adrenaline, anxiety and then a lot of exhilaration. It’s been a journey. I am enjoying the shows, but they are a bit of an ordeal as well. I’m okay with that. It feels like I’m doing something important for me, at the very least, and hopefully that does come across to audiences as well.”

As with all things, time has helped to ease some of this anxiety, which Bernholz likens to the process of being tattooed. “There is a certain degree of numbing that happens. The pain is really intense at first, but then it becomes okay and it’s quite nice. I’m at that stage now, mid-tattoo, going with it and trying to make the most of it. I’ve been doing a lot of shows in places I’ve never really done before, so that’s been really nice.”

In addition to her “momentous” sold out headline show at London’s historic Bush Hall – more on that to come – Bernholz has cherished the opportunity to connect with new audiences in new locations on this tour. “I’m not a massively touring artist, but when I get the chance to do a gig in a place where I’ve never been before, I’m always really happy to do it,” she comments. As part of the first run of Black Dog shows, Bernholz performed at The Glass House in Newcastle, which marked her debut gig in the North East.

“It’s a big classical venue and the people that came along to that were a total mixture,” she recalls. “A lot of people took a punt on it, it was something quite new to the venue, maybe a bit weirder than their usual programming. I had a chat with a couple of music students afterwards and they were just surprised and happy that they’d got to see something like that in their city. It made me feel good.”

Bernholz is also looking forward to returning to play in Glasgow in September. “This show, compared to my previous set ups, is more expensive,” she willingly admits. “There’s more people involved, there’s a baseline of tech requirements that we have, and proper staging and production. So the chance to do stuff away from London, with this level of production is great.”

A common thread that connects the places and people that Bernholz performs to is gratitude. She instinctively taps into the atmosphere of each location, something which is especially true of her London show at Bush Hall last year. “I love London gigs. I have an amazing following there and I love visiting London as much as I can,” she enthuses. “I think it is a bit of a beacon, so if something works in London, you can trial it to a bigger audience first, and take it further out.”

She continues to reflect on the “epic” nature of her London Black Dog live debut. “I was so anxious. The sound check didn’t go particularly well, we had a haunted sound desk,” she smiles. “I was in a weird zone before the show. I felt supercharged with anxiety. I think, being an anxious person generally, I’m always on some level of tension, but it was ramped up. But it did me a favour, because the show was actually a huge release.”

Bernholz’s anxiety about performing is not rooted in insecurity, it comes from a place of wanting to bring the intrinsic worth of her visions as Gazelle Twin to life. “I’m more sure of myself on that stage than at any other time in my life,” she shares. “I love that experience, it’s like having a lucid dream. As somebody who is socially not amazingly confident – suddenly being a person that can eyeball people and be incredibly vulnerable at the same time – it’s like getting to live a different life for a bit. I loved the Bush Hall show. The energy in the room was extraordinary. I could feel electricity in the air.”

As a spectator at Bush Hall, I can confirm that it was an exceptional performance. Bernholz’s necromantic spirit and otherworldly vocal range ricocheted off the archaic walls of the old music hall. The crowd of fans and friends were silent and spellbound, including electronic music pioneer Gary Numan. “Gary and his family came backstage afterwards and then we just spent about an hour talking about ghosts,” Bernholz shares. “The whole thing was like an insane dream. You can’t make it up, really.”

A new dream that Bernholz will be making a reality in the near future is a specially commissioned show at another prestigious London venue. In November, she will be performing alongside the London Contemporary Orchestra at The British Library, on a Black Dog inspired piece that will open the venue’s new season, Tales of the Weird: An Autumnal Festival – a celebration of the strange, the uncanny and horror. Ticket holders will also have access to the new exhibition, Medieval Women: in their own words.

“It’s a perfect positioning to present Black Dog in almost an acoustic form,” Bernholz shares. “I’ve been saying that it will be like the ‘Victorian version’,” she laughs, before adding “that sounds awful actually.” Bernholz insists she won’t be “cosplaying as a Victorian”, but she will be transforming the intensely layered and electronic music of Black Dog, offering her listeners a new perspective on the record. “Weirdly, when I was writing Black Dog, I had orchestral scale in my mind,” she shares, “I kept that, with the hope that one day we could do this version and hopefully record it as well.”

Bernholz has collaborated with conductor Robert Ames before, but she is especially excited to work with the London Contemporary Orchestra for the first time. “It’s a brilliant opportunity to be able to do that within the majesty of The British Library as well, with all of that incredible literature and history around,” she comments. “I’m so excited. Hopefully we’ll be able to transport it as well, and do it a few more times. Hopefully in the UK and maybe abroad as well.”

2024 continues to be a busy year for Bernholz. As well as balancing her Gazelle Twin performances alongside her normal everyday life as a parent, she is also preparing to acknowledge the 10th anniversary of her second album, Unflesh. Released back in September 2014 via her own imprint Anti-Ghost Moon Ray, this Gazelle Twin record marks a significant point in my own life as a music fan and journalist. It changed my idea of what electronic music could be, so I suspect it holds a deeper reverence for the creator.

When I ask how she feels about the upcoming anniversary, Bernholz jokes that it makes her “feel old”, before revealing that she considers Unflesh to be her “true love” album. “I think I hit on something that I have never been able to get rid of – I hit what Gazelle Twin truly was meant to be for me,” she explains. “I look back on Unflesh and I just think ‘God, I’m so glad I did it, and I did it without giving a shit about how it was going to do, or what it was. It was just urgent and I just went for it without any expectations.”

Much like the inception of Black Dog, on Unflesh, Bernholz was exorcizing a lot of pent up emotions. “It was a huge thing for me, coming out of a past mental state which I hadn’t acknowledged until I’d made the album,” she recalls. “It was like this floodgate situation that allowed me to be creative with expressing those types of things. I think even beyond that, Unflesh has just been a bit of a template for how I approach making things. I don’t know how I’ll feel about Black Dog in 10 years time. I made it how I wanted to make it, but it’s funny, these things have a different meaning to you when you’re the person making it.”

This key “difference” is that Bernholz says she can listen back to Unflesh, and it doesn’t provoke a “horrible full body cringe” and force her to contemplate what could have been added or edited, which is something she has experienced when reflecting on other works. “I can still listen to that album – and this isn’t to pat myself on the back – but I am proud of that work. “I still think there’s mileage in it and more to take from it,” she explains. “I think there’s mileage in that visual world. If there was another chapter, what would that be? [What if] it was in a different form, like a book?” she extrapolates.

Fans will have to wait until September to find out exactly what Bernholz has planned…

 

Follow Gazelle Twin on bandcamp, Spotify, Instagram, Twitter & Facebook

Photo Credit: Teri Varhol

Kate Crudgington
@kate_crudge

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LIVE: Circe – Electric Ballroom, Camden (22.07.24)

Bathed in blue light, dark-pop artist Circe slowly emerged on to the stage at the Electric Ballroom in Camden last week. Stood next to a solitary neon blue crucifix which glowed ominously throughout her set, the London-based musician opened with the effervescent sounds of ‘My Boy Aphrodite’; the repeated lyric “you do kill me, always thrill me” encapsulating the immersive, all-consuming quality of her live performance perfectly.

Supporting American band The Midnight on their recent UK and EU tour, Circe’s blend of dystopian-yet-euphoric dark-pop was the ideal accompaniment for their synth-wave sounds, proved by the packed venue full of the band’s fans who had turned up early to see the emerging artist. Performing a mixture of tracks from her debut EP, She’s Made Of Saints (2020) and her most recent release, Drawing Wings From The Light (2023), her seraphic vocals and cinematic synths oozed vividly through the speakers.

Even without her trademark visuals and backdrop – scattered bunches of artificial flowers reminiscent of Juliet’s tomb in Baz Luhrmann’s Romeo & Juliet, and a montage of footage from films and her own videos – Circe’s theatricality was still as potent as ever. Predominantly written and produced from her bedroom, the drama that underscores Circe’s songs translated beautifully into a more grandiose setting. The glossy, bass-drenched beats of ‘Going Down’ – a song about being infatuated with a cheerleader – hit much harder live, whilst the lucid, intoxicating synths on ‘Ten Girls’ – a song about fuckboys – dripped with defiance. She also treated listeners to a new track, ‘Heaven’s The Other Way’, packed with more of her shimmering electronics and emotive vocals.

It was the formidable sound of ‘Blue Love’, however, that was the true highlight of the set. Described by the artist as a hybrid of her influences, including Karen O and The Cure in their Disintegration era, Circe’s invite to “come take a shot at it / I’ll let you rot with it” dazzled the crowd. As she performed it, she confidently paced across the stage, raising her arms and gesturing to the sky, radiating confidence and true star quality.

Although she would later appear on stage again during The Midnight’s set, Circe closed her performance with ‘Riot Of Sunlight’. As she played her acoustic guitar, a euphoric rush of dizzying electronics swelled around her. Rapturous cheers and applause at the end of her set proved that Circe’s live charm is undeniable. Her neon dreams and cell-tingling dark-pop fantasies are truly best experienced in the flesh.

Follow Circe on Spotify, bandcamp, YouTube, TikTok, Twitter & Instagram

Photo Credit: Zak Watson

Kate Crudgington
@kate_crudge

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PLAYLIST: July 2024

The Get In Her Ears team have put together another mix of eclectic electronic sounds, alternative & shoegaze anthems, punk bangers, indie-folk musings and alt pop tunes 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.

Whitelands – ‘Cheer’
This is one of my favourite songs, taken from one of my favourite albums of 2024, from London-based shoegaze band Whitelands. Their debut record, Night-bound Eyes Are Blind To The Day, is a heady rush of atmospheric reverb-heavy guitars, lush gauzy vocals and poetic lyricism, and I’ve been infatuated with it since its release via Sonic Cathedral. Watch the accompanying video for ‘Cheer’ here.
(Kate Crudgington – Features Editor)

Clinic Stars – ‘Only Hinting’
I am hooked on the shimmering guitars and ethereal vocals on this dreamy offering by Detroit-based duo Clinic Stars. ‘Only Hinting’ is the title track from their upcoming debut album, which is set for release on 20th September via Kranky. (KC)

Kynsy – ‘Stereo Games’
Described as “a wild ride through the chaos of love and self-destruction,” Dublin-raised, London-based artist Kynsy delivers another brooding indie anthem here. Released via Nice Swan Records, it’s full of her distinctive vocals and gritty riffs. (KC)

Hello Mary – ‘0%’
It took me about 10 seconds of listening to ‘0%’ for me to decide that I loved New York trio Hello Mary. It captures their dynamic blend of grungy riffs, considered instrumentation, unpredictable beats and direct vocals perfectly. The band will be releasing their second album, Emita Ox, on 13th September, and they’ll be making their London live debut at The Windmill in Brixton on 5th September. Grab a ticket here. (KC)

Loose Articles – ‘Are You A Welder?’
The new single from Manchester faves Loose Articles, ‘Are You A Welder?’ challenges society’s stereotypical gender roles centered on concepts of masculinity and femininity with a raw punk power and playful energy. Having recently supported Foo Fighters on tour, and being busy playing plenty of festivals this summer, have just released their debut album, Scream If You Wanna Go Faster, via Alcopop! Records too.
(Mari Lane – Managing Editor)

pink suits – ‘Are You Gay Yet?’
Taken from their recently released second album Dystopian Hellscape, Margate duo pink suits offer a seething celebration of queerness with ‘Are You Gay Yet?’. Reflecting on numerous interactions that guitarist and vocalist Lennie has had throughout their life when people have questioned or confronted them about their sexuality, it’s an uncompromising reclamation of being confident in who you are. As Lennie says, “People are gay. I am gay. We are gay. You might be gay too… and that is ok.” And pink suits have just shared a wonderfully empowering and joyous new video for the track – check it out here. (ML)

Destroy Boys – ‘Should’ve Been Me’
This raging new single from Sacramento punks Destroy Boys might be less than two minutes long, but it packs a proper punch. The track is taken from the band’s upcoming album, Funeral Soundtrack #4, which is set for release on 9th August via Hopeless Records. (KC)

Soot Sprite – ‘I Went Swimming’
South England-based indie-shoegazers Soot Sprite dropped this tune a back in June via Specialist Subject Records. Full of swirling riffs and urgent vocals, ‘I Went Swimming’ is about proactively ditching a toxic relationship before it drags you down further. (KC)

EFÉ – ‘2000SEVEN’
Irish artist EFÉ is back with this banger of a single. Written when she was 19 but developed over several years, ‘2000SEVEN’ is an homage to 00s rock, but also an ode to recovering from a tough time and finding new friends in the process. (KC)

Lemonade Sin – ‘Keep It Up’
Consisting of members you may recognise from other bands such as BCOS RSNS and Umbrella Heaven, London-via-Devon Lemonade Sin have just released their new album, Deadly Sins. Taken from the album, latest single ‘Keep It Up’ offers a blissful rumination on lust; combining jangly guitar pop with a classic disco groove and lush synth sounds reminiscent of the dreamy soundscapes of Stereolab. (ML)

Los Bitchos – ‘Kiki, You Complete Me’
Based in London, international band Los Bitchos include members from Australia, Uruguay, Sweden and Britain, and are united by a distinct sense of fun. This definitely comes through in their latest, comic-book-inspired new track, ‘Kiki, You Complete Me’. Racing with a swirling energy and colourful rhythms, it’s described by the band as “Batman meets Los Bitchos”. (ML)

The Go! Team – ‘Ladyflash’
Having been a big fan of The Go! Team’s 2004 album, Thunder Lightening Strike, when it came out all of twenty years ago, I then saw them live at Electric Ballroom in 2018, and it was one of the most fun live shows I’ve ever been to – such immense energy and colourful charisma. So, I was very excited to see them again at Deer Shed Festival. I chatted to the band recently about live shows, kids on tour and the challenges of the industry today – have a read here. (ML)

CATBEAR – ‘Rush’
Having previously supported indie legends The Subways and just played Bristol Pride alongside the likes of Ladytron and Human League, synth-pop duo CATBEAR take influence from queer icons like Robyn and Tegan and Sara. New single ‘Rush’ swirls with a colourful, euphoric energy of this track, creating a perfectly danceable summer anthem. (ML)

Julia-Sophie – ‘wishful thinking’
This lush glitch-pop offering from Julia-Sophie is one of many gems on her debut album, forgive too slow. Released via Ba Da Bing Records, the record is a bittersweet reflection on past love, heartbreak and recovery, all tinged with the Anglo-French artist’s distinctive melancholic edge. (KC)

Maria Uzor – ‘What U Need’
The new single from GIHE fave Maria Uzor, ‘What U Need’ showcases all there is to love about the Norwich artist. Propelled by fierce beats as a glitchy electronic soundscape provides the backdrop for Uzor’s soaring vocals, the track pulsates with a deep immersive groove and sparkling playful allure. Reflecting on her recent time away from social media, she says of the track: “(It’s) about how you can lose a sense of who you are if you spend too much on there…” ‘What U Need’ is accompanied by a fun, homemade video in which Uzor has dressed up as characters from some of her previous videos in order to convey a sense of identity being in flux. (ML)

Palindrones – ‘Lemuria’
A dark, hypnotic blend of electronics and glitchy beats, ‘Lemuria’ is the latest single from South London industrial synth-pop duo Palindrones. Taken from their album Chapter One, which they released last year, the single is accompanied by a new music video, which you can watch here. (KC)

Sister Ghost – ‘Dark Matter’
Northern Irish artist Sister Ghost has shared this evocative track, which is lifted from her upcoming debut album, Beyond The Water. Set for release on 31st October via Third Bar Records, ‘Dark Matter’ was inspired by the French film, Portrait of a Lady on Fire. Sister Ghost explains further: “I really felt it echoed some of my own queer experiences. That’s also why there’s some French in the bridge section of the song, which translates to ‘my love, she glows in the fire’.” (KC)

PostLast – ‘Hollywood Ending’
Another dreamy offering from Irish duo PostLast here, released via VETA Records. Formed of Julie Hough (HAVVK) and Stephen McHale (BARQ), PostLast’s brand of off kilter indie-pop always makes for an charming listen. (KC)

Happy Accidents – ‘Infinite Possibilities’
Their first new music since 2018, ‘Infinite Possibilities’ is the new single from South London duo Happy Accidents. Reflecting on how our brains can play tricks on us, and how there could be infinite ways to interpret what is happening to us, it flows with jangly hooks and emotion-rich twinkling harmonies. The single comes ahead of a new album Edit Undo, due for release on 27th September via Alcopop! Records, and – in the meantime – the band are inviting fans into a load of secret new music and stories behind the songs, as well as access to the album a month early. This can all be accessed by pre-ordering the record here. (ML)

Squirrel Flower – ‘Finally Rain’
One of my most listened to artists over the last couple of years, I was lucky enough to catch Squirrel Flower live at The Lexington last week. From the start, she instantly immersed the sold out venue in a soaring splendour as the raw emotion of her crystalline vocals flowed throughout. Treating us to a set spanning all five of her albums, live she was even more spellbinding than I could have imagined; combining a celestial majesty with a gritty musicality, Squirrel Flower and her band succeed in completely captivating me with each truly exquisite offering. Ending the set with a solo rendition of this closing track from her latest album, Tomorrow’s Fire, ‘Finally Rain’ brings the evening to a close with a perfect heartbreaking grace, evoking in me the kind of emotion that is normally only reserved for Bruce Springsteen. (ML)

Seaker – ‘Lately’
North London-based independent musician Seaker self-produced this track in her home studio. She describes it as “a love song of sorts” that is designed to feel like “a comforting word from a friend”. Her tender vocals and earnest lyricism combine with gentle beats and keys to help soothe the pangs of heartbreak. (KC)

Midwife – ‘Rock N Roll Never Forgets’
The latest single from the elusive Midwife is a bittersweet rumination on memory, and a gentle ode to the transcendent power of music. It’s taken from her upcoming album, No Depression in Heaven, which is set for release on 6th September via The Flenser. I’m a big fan of her “heaven metal” sounds and I can’t wait to hear the record in full. (KC)

Gracie Gray – ‘Burden’
Taken from her new released second album, Magnet, this track by LA born, New York based artist Gracie Gray showcases her innately raw, self-soothing qualities as a songwriter. I had a really lovely chat with Gracie for The Line Of Best Fit, in which we spoke about the importance of solitude, the joy of listening to music in your bedroom, and limiting your time on the internet. Read it here. (KC)

⁠Breymer – ‘Darkness’
Minnesota born artist Breymer is set to release their new album in October; a collection exploring their relationship with gender and identity, they recently changed their artist name – from Sarah Walk to the more androgynous Breymer – to reflect how they feel about themselves after their recent top surgery. ‘Darkness’ was written to comfort their wife when she was going through a tough time, and its rich stirring emotion and lilting musicality is a thing of pure beauty. When I Get Through, the upcoming new album from Breymer, is set for release on 18th October via One Little Independent Records. (ML)

Katie Malco ft. Laura Stevenson – ‘Fatal Attraction’
A disarming reflection on connection, loneliness and infatuation, I love this new track from Katie Malco, featuring American songwriter Laura Stevenson. ‘Fatal Attraction’ is inspired by the classic 90s erotic thriller that it’s named after. Katie comments: “Strangely, I realised that Fatal Attraction might be one of the most relatable movies I’ve ever seen. The scariest and most gripping parts are in the intense rage felt at the hands of selfish and careless behaviour and the self-loathing that comes with it. It almost becomes an analogy of society at large, where the men always seem to get away with it, and nobody else does. Boiling bunnies and stalking aside, you could liken Glen Close’s character to the entire non-male population, fighting to be heard and to be equal.” (KC)

Sunflower Thieves – ‘How Was America’
This is the latest single from Leeds alt-pop duo Sunflower Thieves, taken from their upcoming EP, Same Blood, which is set for release on 30th October via Kartel. ‘How Was America’ is a deceptively soft sounding song that’s underscored by the sharp, lingering pain of being ghosted by a friend. (KC)

Jasmine.4.t – ‘Skin On Skin’
Based in Manchester, trans artist Jasmine.4.t is the first signee to Phoebe Bridgers’ new label Saddest Factory Records and has now shared exquisite new single ‘Skin On Skin’. Produced by Bridgers alongside fellow Boygenius members Julian Baker and Lucy Dacus, it’s as beautifully perfect as you’d expect. Reflecting on both the camaraderie and isolation that can be a part of transfeminine life, it flows with a stirring glistening emotion and twinkling hooks. If you, too, fall in love listening to this track, you can catch Jasmine live at The Waiting Room in Stoke Newington on 31st July – nab tickets here. (ML)

Bria Salmena – ‘Bending Over Backwards’
Loving this sultry, upbeat offering from Canadian artist Bria Salmena, released via Sub Pop. Salmena describes this track as “a manic conversation with myself,” with her lush vocals and hazy riffs helping to calm those chaotic thoughts. (KC)

Yaz León – ‘GULLY’
Spanish-Iraqi songwriter Yaz León has just released her new EP, BLEACH, which she produced by herself. It’s a record that documents the songwriters “internal monologue” over the past year, and this track ‘GULLY’ is a tender, slow-building testament to that. (KC)

Lex Amor – ‘A7X’
Having previously played on Later… With Jools Holland and collaborated with the likes of Kojey Radical, North London artist Lex Amor has now worked alongside Luton based rapper BXKS on latest single ‘A7X’. Fusing together genres to create a blissful reflection on everyday life, it oozes a stirring soulful groove. I’m a big fan. (ML)

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PLAYLIST: June 2024

The Get In Her Ears team have put together another mix of feminist punk, queer anthems, alternative & shoegaze sounds, eclectic electronic tracks, indie-folk musings, and alt-pop tunes 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 – ‘Good Boy’
Wow, it seems like it’s impossible for total faves ARXX not to write a song that gets instantly lodged in your brain and demands listen upon listen; each listen making you feel more and more uplifted. I just can’t get enough of latest single ‘Good Boy’s thumping beats and anthemic energy. They describe this track as their “big gay anthem… A little bit saucy, a little bit cheeky and a lot of fun!” As well as listening to the track multiple times, you should also watch the video – the dogs are cute, Hanni and Clara are cute, it’s a whole lot of cute.
(Mari Lane – Managing Editor)

SASAMI – ‘Honeycrash’
I was late to the SASAMI party, first discovering her in 2022 when she released her genre-blending metal-folk album, SQUEEZE. ‘Honeycrash’ is her first piece of new music since then, and it’s a glorious, full-bodied, passionate anthem about the complexities of love and relationships. SASAMI explains: “I wanted to write a song with all the drama of a 19th century classical opera, but with the patience and understanding of someone in therapy in 2024,” and on ‘Honeycrash’ she has achieved exactly that.
(Kate Crudgington – Features Editor)

Seraphina Simone – ‘Wild’
This is the title track from Seraphina Simone’s shimmering new EP. ‘Wild’ is Seraphina’s statement of rage, shifting self-worth, grief and sadness; all beautifully polished into a bright collection of alt-pop gems. (KC)

Æ MAK – ‘Low Down’
Lifted from her new EP, ABC SIDE Baby, this single from Irish art-pop artist Æ MAK is about “hitting rock bottom after a break-up, almost basking in it, and finding your power again”. I love this phoenix-rising-from-the-ashes sentiment, set to an infectiously upbeat mix of heady synths and dancing beats. (KC)

SOPHIE – ‘Reason Why’ (ft. Kim Petras and BC Kingdom)
It’s fair to say I got a little emotional hearing that a new album from legendary producer and trans pioneer SOPHIE was being posthumously released. The first single to be shared from it, ‘Reason Why’ features Kim Petras and BC Kingdom and offers a euphoric slice of queer electro-pop. Of the decision to release her music now, SOPHIE’s family have shared a statement explaining: “It feels only right to share with the world the music she hoped to release, in the belief that we can all connect with her in this, the form she loved most… Sophie gave all of herself to her music. It’s here that she can always be found.” SOPHIE, the self-titled final album, is due for release on 27th September via Transgressive and Future Classic. Pre-order here. (ML)

Chelsea Wolfe – ‘House Of Self Undoing’ (Boy Harsher Remix)
I am obsessed with this Boy Harsher remix of one of my favourite Chelsea Wolfe tracks. They’ve kept the melancholy undertones of the original, but somehow managed to transform it into an hazy, uplifting rush of synths, beats and hushed vocals. (KC)

Roller Derby – ‘Silver Jet’
Following recent single ‘Dreams’, Hamburg duo Roller Derby are back to charm our ears with the immersive sounds of ‘Silver Jet’. As Philine Meyer’s distinctive celestial vocals soar throughout, the song sparkles with anticipation for the new beginning that we’ve been flying towards throughout the track. A stirring meditation on enduring challenges, both on a personal and collective level. (ML)

Midwife – ‘Killdozer’
Taken from her upcoming album, No Depression In Heaven, this beautiful single from Midwife is “an ode to a city lost in the aftermath of gentrification.” ‘Killdozer’ centers around the story of Marvin Heemeyer, a muffler repair shop owner who went on a demolition spree in a modified bulldozer, before taking his own life in a small Colorado town in 2004. It always impresses me how Midwife transforms the darkest of moments into beautiful, shoegazey lullabies like this. I’m looking forward to hearing her new album in full. (KC)

Julia-Sophie – ‘telephone’
Balancing all-encompassing romantic infatuation alongside her melancholic and lonely impulses, this vibrant track from Julia-Sophie is a total headrush. ‘telephone’ is taken from her upcoming debut solo album, forgive too slow, which is set for release on 26th July via Brooklyn label Ba Da Bing Records. Julia-Sophie offers this comment about her new record: “My journey with music has been weird and long. I think people assumed that the music I made was exactly what I intended to make, when it’s always just been me trying to figure it out. Being a solo artist has allowed me to really find myself and show who I am in all my messy states.” We fully support that! (KC)

mayday mae! – ‘girls into music’
California-based, queer alt-pop artist mayday mae! penned this fun track as an ode to all the queer films, music and art that came before her. ‘girls into music’ is taken from her excellently titled EP, my post-desert hearts renaissance. (KC)

Taylor Swift – ‘I Can Do It With a Broken Heart’
I will NEVER stop talking about Taylor Swift and The Eras Tour. I was lucky enough to see the show in both Lisbon and London and I am still in AWE of what she does. The atmosphere was electric and her fans were so fun, kind and willing to indulge in a level of shared euphoria that I have never seen or felt at a stadium gig before. What a privilege to be a part of that. Here’s to Rachel, Vicky and Mel who were screaming and crying the whole way through with me. (KC)

Beauty Sleep – ‘Big Sky’
The new single from Derry duo Beauty Sleep, ‘Big Sky’ is inspired by a fun weekend at Primavera festival. Oozing an infectious glistening energy and fizzing jangly hooks, it’s a perfectly danceable euphoric summer anthem. (ML)

Saint Sappho – ‘Glory Box’
With Portishead’s Dummy being my most favourite album of all time – having grown up listening to my dad’s cassette recording of the album on so many car journeys, and then later as a teen immersing myself in its dark cathartic splendour – I was excited to hear Saint Sappho’s rendition of seminal track ‘Glory Box’. Whilst maintaining the majestic allure of the original, it oozes an added musically rich sense of grandeur and raw energy. Of their decision to cover the track, the duo explain: “We both love the original song and thought it’d be an interesting one to cover and experiment with putting our own sound into it. We added some orchestral elements, which we thought would work well in this song and love to make a track really dramatic.” (ML)

Naomi in Blue – ‘Skin’
Taken from her recent EP, It Takes Time, this is a candid and poignant rumination from singer-songwriter Naomi in Blue. A considered exploration of emotion and identity, ‘Skin’ and the other tracks that form her new record are equally as raw and revealing. Definitely make the time to listen to it in full. (KC)

Hinako Omori – ‘stillness, softness’ (kloxii li remix)
Hinako Omori has shared this remix of her track ‘stillness, softness’ which is taken from the “extended dream transition” version of her album of the same name. It’s remixed by Kloxii Li, who is a friend and collaborator of Hinako. I love the way they’ve made this gentle track sound so shadowy. (KC)

Yaz Leon ft. BUKKY – ‘4th Wall’
A great collaboration here between experimental R&B artist Yaz Leon and genre-defying artist BUKKY – who was a guest on our Soho Radio show a few months back. ‘4th Wall’ is taken from Yaz’s upcoming EP, Bleach. Yaz describes this song as “kind of a ‘hater’ and a “help I’m spiralling” song” about the lack of solidarity she’s experienced in different social spaces. She also says “it’s a bit of a bummer, but at least we made the beat fun! – which I respect! (KC)

Fraulein – ‘In The Living Room’
This is my favourite track from Fraulein’s recent mini-album, Sink Or Swim. The perfect mix of loud and quiet; the skilled grunge duo consistently deliver swirling alternative anthems that command the senses. Definitely check their record out. It’s a GIHE team fave at the moment. (KC)

LIINES – ‘Holding On’
The new single from Manchester post-punks LIINES, ‘Holding On’ is the band’s first new music since 2021. Showcasing the band’s ability to create brooding sonic explosions, lyrically it draws on themes of hope and desperation, and I just love its frenetic sense of urgency and the raw passion of Zoe McVeigh’s soaring vocals. (ML)

Problem Patterns – ‘I Think You Should Leave’
An ode to their hometown of Belfast, this is the brand new single from GIHE faves and punk icons Problem Patterns. Inspired by a disparaging comment a journalist made to the band when speaking about Northern Ireland, the track is a riotous “love letter” to the place that raised them as individuals and as a band. “Everybody leaves and nothing changes / I’ll stay here and create the spaces” they chant in the chorus, which becomes more powerful each time it’s repeated. The GIHE team love everything that Problem Patterns stand for, and we were lucky enough to visit them in their hometown back in 2022 for the Women’s Work Showcase at the Oh Yeah Music Centre. The Belfast hospitality was beautiful – we think you should all go! (KC)

Belmondo – ‘Getting Closer’
Lifted from their excellently titled EP, The Blessed & The Evil, released via Silent Cult, I love this heavy, swirling anthem from Brighton-based alt-rock band Belmondo. The band will be playing live at venues in Glasgow, Manchester and Birmingham this September, and they’ll be performing at the Hope & Anchor in Islington, London on 5th September too. (KC)

Brat Coven – ‘Favourite Crime’
The latest single from Glasgow ‘doom-punk’ band Brat Coven , ‘Favourite Crime’ reflects on predatory age-gap relationships with a fierce, raging passion. Propelled by a seething energy, a captivating, haunting soundscape is created. Of the track, the band explain: “We wrote this song for ourselves, for our younger selves, for anyone whose story is told by this song. Sexual abuse and grooming is rampant, particularly in the music industry and we think it’s incredibly important to use our voices to speak out and condemn predatory men.” (ML)

SNM – ‘Borne Of My Rib’
Loving this angst-ridden single from London-based Grunge-rock newcomers SNM. They’ve only released a handful of tracks so far, but the band are gearing up for a busy year of live shows and writing together, so keep your eyes peeled for more from them soon. (KC)

Strange New Places – ‘Foreign Cities’
I really enjoyed reading the bio of Belfast-based band Strange New Places when their email dropped into my inbox earlier this month. They describe themselves as “right-on radicals with low self-esteem; a band where queerness and neurodivergence intersect, and intersect hard. Sometimes they intersect in fun and interesting ways and other times they intersect in strange and annoying ways. Each member looks like they’re in a different band, and sometimes they sound like it too. Regardless, they’ve stuck together, and they have some music to play for you.” This track ‘Foreign Cities’ is a perfect example of all these wonderful traits; playful, quirky and bittersweet. (KC)

Hot Wife – ‘Buffy Summers’
The debut single from South London band Hot Wife has dropped into my life at the perfect time! I am currently on my first ever watch of Buffy The Vampire Slayer – I’m on season 4 – and I am loving it. I’m thrilled that I can finally join in on all the fandom. Hot Wife describe this track as “a crunchy-grunge ballad, and a reminder that when relationships are disappointing, you can always go out there and seek revenge by kissing kick-ass people.” A sentiment we should all be living by. (KC)

Alien Chicks – ‘Qwerty’
Another unpredictable and infectious post-punk anthem from Brixton trio Alien Chicks, featured on their upcoming debut EP, Indulging The Mobs, set for release on 18th July via Hideous Mink Records. It’s cliché to say, but they truly are a band who are best appreciated live. They’ll be headlining Moth Club in East London on 5th July. Grab a ticket and go an experience their frenzied live set in the flesh. (KC)

Fightmilk – ‘Summer Bodies’
A perfectly raging summer anthem, ‘Summer Bodies’ – the new single from pop-punk faves Fightmilk – has been a live favourite for some time, so I’m very happy that it’s now properly out in the world. Raging against patriarchal society’s ridiculous and ever-changing expectations of women’s bodies and the futile quest to ‘be sexy’, it offers a fierce ode to self-love in the face of the onslaught of damaging beauty standards that we are constantly bombarded with. Angsty and uplifting in equal measure, it’s an instantly catchy singalong anthem, combining the band’s trademark tongue-in-cheek wit with a swirling energy and gritty raw emotion. So, this summer, wear whatever you makes you feel comfortable, pay no mind to the incessant Instagram ads about fad diets or corrective procedures, and know that you look great – whatever size, age or gender you may be. (ML)

Okay, Bye – ‘The Fun Is Over’
Pastel-punk duo Okay, Bye released their debut album earlier this month, and this is the excellently titled eponymous track. If you like the sound of ‘The Fun Is Over’, definitely give the whole record a spin. (KC)

Annie Taylor – ‘In Your Head’
Recorded during a break on their tour in Leipzig, Annie Taylor’s latest single ‘In Your Head’ is a swirling indie-grunge anthem. The band are set to tour Europe in December this year, and they’ll be stopping in London at The Shacklewell Arms in Dalston on 3rd December too. (KC)

PostLast – ‘Scavenge’
This is the brand new single from Irish indie-pop duo PostLast, out now via VETA Records. ‘Scavenge’ is all about that “unspoken connection” between two people that can “quieten all of the noise, anxiety and pressure you might be feeling internally” which is a sentiment I love. (KC)

Lunar Vacation – ‘Set The Stage’
Having just announced the upcoming release of a new album this autumn, following one of my most-listened to of the last few years – 2021’s Inside Every Fig is A Dead Wasp – Lunar Vacation have now shared this dreamy new single. The first and last song that vocalist and guitarist Gep Repasky has ever sent to the person that they’d written it about, ‘Set The Stage’ ripples with a swirling anthemic splendour as a glistening emotion oozes from the immersive shimmering soundscape. Everything Matter, Everything’s Fire, the new album from Lunar Vacation, is set for release on 13th September via Keeled Scales. (ML)

Sequela – ‘Zavander’
I’m glad that I found this track from Portland-based band Sequela in my inbox. Non-binary front person Sequela explains that ‘Zavander’ “is in part about my experience of navigating the isolation and dynamism of adolescence in the body of a teenage girl who was not made for her world.” Along with their bandmates, Sequela manages to transform these feelings of unease into a lush indie-shoegaze anthem. (KC)

Static Lives – ‘Social Anxiety’
Having been blown away by Sheffield’s self-proclaimed ‘dance-rock-alt-band’ Static Lives at Cro Cro Land earlier this year, I’ve been enjoying dancing and rocking to latest single ‘Social Anxiety’. Propelled by a fierce energy, it races with catchy hooks and front woman Lori’s impassioned vocal drive. (ML)

Th’Sheridans – ‘Dancing In The Dark’
A favourite band covering an absolute favourite by my absolute favourite; so many faves all in one. I just cannot stop listening to Th’ Sheridan’s rendition of Bruce Springsteen’s infamous anthem ‘Dancing In The Dark’ right now; I love the gritty emotion oozing from Adam’s vocals alongside the racing, fizzing hooks . Of the track, the band say of their choice to cover this song – “It carries a cavernous depth of sentiment: everyday monotony, feelings you just can’t seem to put anywhere, oppressive levels of aesthetic self-assessment, and most freeingly, the belief that other ways of being are possible.” Th’ Sheridans recorded this cover especially for a wonderful new podcast, Because The Boss Belongs To Us, which sees Holly Casio and Jesse Lawson put forward the case that Bruce Springsteen is in fact a queer icon. I wholeheartedly agree. Oh, and I just saw him in Madrid and he was as incredible as ever – played for 3 hours non-stop, and I was crying happy, overwhelmed tears pretty much the whole time. (ML)

Spring Major – ‘A Varsity Play For The Dock’
I’ve loved Spring Major a lot since first coming across them last year, but now – since seeing them play for us at our dreamy gig at The Finsbury last Friday, supporting Felicette with Schande and Caleb Nichols – I would consider myself a fully-fledged mega fan. Latest single ‘A Varsity Play For The Dock’ perfectly captures how the band’s swirling energy and jangly melodies come together to create impassioned and instantly uplifting emo-tinged anthems. (ML)

The Calamatix – ‘Love, Lies and Alibis’
California’s The Calamatix have just announced the release of their upcoming debut album, as they’ve shared a catchy new single. Combining elements of old school ska with Jamaican rock-steady, as well as a fresh contemporary edge, ‘Love, Lies and Alibis’ bounces with a vibrant energy as buoyant beats race alongside the smooth, soulful vocals. It took me back to being sixteen, skanking round the living room before heading out to see local ska-punk bands at Bedford’s Esquires; a perfectly nostalgic, joy-inducing accompaniment to heady summer evenings. The self-titled debut album from The Calamatix is set for release on 20th September via Hellcat Records. (ML)

Dolly Parton – ‘Dumb Blonde’
A bit of Dolly here to remind you that we’ll be hosting a night of queer country fun on 19th July at Sebright Arms. Headlining will be the world’s premiere Dolly Parton tribute band The Dumb Blondes, who are quite the super group – featuring members of Fightmilk, Panic Pocket, Yakkie and Charley Stone. Support comes from cowboi crushes Trouble Wanted and legendary Margate duo pink suits, in their country guise. It’s going to be epic – so, don your daisy dukes and come on down for a rootin’, tootin’ good time! Well over half the tickets have already been snapped up, so you better nab yours quick – on Dice now. (ML)

 

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