LIVE (Photos): Cro Cro Land, 06.04.19 (Part 2)

Last weekend saw the launch of Croydon’s brand new festival, Cro Cro Land. Organised by Croydon residents Angela Martin and Julia Woollams, the festival aimed to promote gender equality in both its line-up and staff, whilst championing a number of local bands and artists, and working in conjunction with a number of grassroots organisations and charities, including Lives Not Knives.

And what a festival it was! Paying host to SO MANY incredible bands, it was not only a day filled with all the best live music, but also a completely unmatched sense of community spirit and united joy at being part of the DIY scene. As well as all the superb bands playing on the day, we bumped into so many other bands and artists there to support their peers, as well as other key members from the community, such as Caffy from The Zine UK and staff from Croydon’s best pub, The Oval Tavern. It was like a huge family gathering, filled with all the most life-affirming vibes and, of course, the best live music.

Check out Part 1 of our review of the day here. And here’s some more fantastic photos from Jon Mo and Jamie MacMillan, who were there to capture all the action…

Following Bugeye’s impressive set, we stick around at the main Town Square stage to catch the festival’s ‘secret’ headliner – Liverpool’s She Drew The Gun. Kicking off with the politically-driven power of ‘Resister’, they treat us to an immense and utterly immersive set filled with a sincere, empowering energy.

Photo Credit: Jamie MacMillian

Photo Credit: Jamie MacMillan

Continuing the incredible performances at the Town Square stage, South Yorkshire’s Bang Bang Romeo blast into our eyes and ears with a magnificent energy. As front woman Stars completely blows my mind with her incredible compelling charisma and the soaring soulful power of her vocals, they deliver a truly breathtaking and instantly memorable set, taking full control of the huge crowd.

Photo Credit: Jon Mo

Photo Credit: Jon Mo

Rather nervous about some of my favourite bands clashing (it’s just such a perfect line-up!), I manage to fit in at least some of all the ones I’m desperate to see over the next hour – flitting between the Concrete Playground and Town Square…

From Bang Bang Romeo, I catch a good chunk of the luscious, punk-infused indie-pop of Fightmilk. With their wonderfully raucous energy, they never fail to uplift, as I find myself singing along to each of their dreamily catchy offerings – including personal highlight ‘Dream Phone’ (and yes, sadly I am old enough to remember the game!).

Photo Credit: Jon Mo

Photo Credit: Jamie MacMillan

Dashing back to the Town Square in time to catch South London duo Nova Twins, they once again succeed in completely taking my breath away with their ferocious power and biting energy. Having been following Georgia and Amy for some time now, it’s no surprise to see them achieving the success they have been (supporting Wolf Alice and Prophets Of Rage, praise from the likes of Iggy Pop, playing festivals across the world…); their truly immense, seething offerings are like nothing else I’ve heard before, and the vibrant, mighty force of their live show remains completely unmatched.

Photo Credit: Jon Mo

Photo Credit: Jon Mo

Back at the Concrete Playground, total faves Chorusgirl do not disappoint. Another band I’ve been following for the last few years, it really is wonderful to see them develop their sound, with their incredible dedication to their craft paying off with the release of last year’s truly epic second album Shimmer and Spin. A set filled with a joyous energy and front woman Silvi’s endearing modest charm, I just can’t get enough of their scuzzy, sparkling garage-rock, and may even have shed a tear upon hearing personal favourite ‘Stuck’ live for the first time; a poignant offering from the new album, that tugs at the heartstrings in all the right ways.

Photo Credit: Jamie MacMillan

Photo Credit: Jamie MacMillan

I manage to get back to the Town Square just in time to catch The Lovely Eggs. Despite a significant amp explosion moments before they’re due to start, the Lancaster duo deliver their immense punk-infused sonic fusions to perfection. With the brash, inspiring charisma and no-frills-yet-empowering presence of Holly Ross, they blast out a swirling, psychedelic cacophony and uplifting lo-fi fuzz. And, with their blunt realism and scathing retorts to all the dickheads in the world accompanying their riotous frenzied energy, they remain one of the most relevant bands around (and one of the most exciting to see live).

Photo Credit: Jamie MacMillan

Photo Credit: Jon Mo

Closing the incredible day, Blood Red Shoes deliver a headline set filled with raucous anthems new and old. Oozing their trademark whirring riffs, thrashing beats and the immense, energy-fuelled interplay between Laura Mary and Steven, they fill the room with a mass of buoyant bodies, singing along to each electrifying offering.

Photo Credit: Jon Mo

Photo Credit: Jon Mo

HUGE thanks to Angela and Julia for organising one of the best days ever; and here’s to Cro Cro Land 2020!

Photos:
Jon Mo / @jonmophoto
Jamie MacMillan / @jamiemacphotos

Words:
Mari Lane / @marimindles

 

Get In Her Ears Live @ The Finsbury w/ Fightmilk, 14.12.18

Following a host of super amazing bands playing for us recently – including Wendy Rae Fowler, Witch Fever, The Magnettes, The Menstrual Cramps, Thunder On The Left and Sit Down  – we were back at The Finsbury on Friday for another jam-packed night of the best new music, for our last gig of the year!

Kicking things off is the spookily wonderful goth pop of East London’s Candy Cane. Oozing a a synth-driven splendour, their festive covers and charismatic allure is the perfect start to the night.

Second band of the night, Hanya, cast us under their spell once again as the impassioned, subtle power of Heather Sheret’s soulful vocals soar with a gritty edge. Recently expanding in size from duo to trio, the added bass makes their already sweeping, shimmering sounds all the more dreamy.

Next up, Dublin’s Handsome Eric deliver their lush lo-fi fuzz with a driving energy. Considering they’ve been up since 4am and endured the long journey over, they treat us to an utterly immersive set filled with raw, sweeping emotion, leaving me extremely grateful for first coming across them supporting Shamir earlier this year.

To end the night, Fightmilk return to headline for us – complete with working vocal chords! Oozing their luscious, punk-infused indie-pop with a joyous energy and even a few festive jokes thrown in, they deliver a wonderfully raucous, infectiously uplifting set to room filled with buoyant, adoring fans, singing along to each and every word.

Massive thanks to the four incredible bands who played for us on Friday – was a fantastic way to see out 2018! And don’t miss our first gig of next year, at The Finsbury on 11th January with Wolf Girl, Argonaut, The Other Ones and Kin!

Photos: Jon Mo / @jonmophoto
Words: Mari Lane / @marimindles

Albums Of The Year 2018

Despite being a pretty scary year in the grand scheme of things, 2018 has actually been exceptionally great for new music. Our ears have been filled with sonic delights of all genres, providing necessary catharsis and enjoyment. 

So, it was pretty hard to pick our favourite albums of 2018. But, from luscious indie-pop to thumping electro-punk and eerily dystopian soundscapes, here they are… 

Fightmilk – Not With That Attitude
Following utterly infectious singles such as ‘Pity Party’ and ‘Bank Of Mum And Dad’, this year GIHE faves Fightmilk signed to Reckless Yes and released their truly fantastic debut album Not With That Attitude. Delving deep into subject matter such as the end of relationships, summer crushes and the general feelings of anxiety that come with everyday living, each and every offering on Not With That Attitude is an angst-driven gem; a perfect antidote to life, with a nostalgic nod to the emotions of our younger selves.

I can safely say, although the album was only released last month, it’s been one of my most listened-to of 2018; I just can’t get enough of its luscious, punk-infused indie-pop gems. From the scuzzy tongue in cheek wit of anti-love song ‘4 Star Hotel’, and the jangly riffs and immensely catchy, silky smooth refrains of pop anthem ‘Dream Phone’, to the twinkling heartfelt splendour of personal favourite ‘Solving Crimes In Sweden’, there isn’t a dull moment to be found.

An utterly life-affirming, and completely addictive, collection, Not With That Attitude is not only one of my favourites of 2018, but will hold a special place in my heart for years to come.
(Mari Lane – Managing Editor/Co-Founder)

Gazelle Twin – Pastoral
A unique artist with razor sharp vision and uncompromising creativity; Gazelle Twin (aka Elizabeth Bernholz) combined glitchy beats, menacing samples and an uncanny new costume on her new album, Pastoral. Released via her own label Anti-Ghost Moon Ray, the record marked another transformation for the performer; this time she exhumed England’s “rotten past” and questioned its uncertain future.

I’ve been following Bernholz since the release of her sophomore record Unflesh in 2014, and between Motherhood and curating another two atmospheric records (2016’s Out Of Body & 2017’s audio/visual project Kingdom Come), she eventually released Pastoral – and it was totally worth the wait. Her altruistic style is one that can’t be mimicked – even though she herself is a master at adopting the traits of others, and transforming in to a new species of performer who offers brutality and intrigue in equal measure.
(Kate Crudgington – Features Editor/Co-Founder)

Anna Calvi – Hunter
Along with already being a massive fan of Anna Calvi’s music and eager to hear the follow up to One Breath, I wasn’t prepared for just how much I would love the new record. I’d like to say it’s just a personal thing. Mostly because I’m a writer and there’s a branch of us who only speak about how things make us feel (of which I’m one) but also because Hunter was, at its core, a queer and feminist record.

Hunter is the kind of album I would have given into l’appel du vide for as a teenager: a queer album by a queer artist I love, full of tracks bathed in the queer beauty of art. Of course, queerness is far from all the record is, but every track drips in it and its adjacence to the power of love and of sex and of raw, integral passion untouched by any hand and only feelings.

Because of that and the magnificence of tracks like “Wish” and “As a Man”, Hunter is undoubtedly my record of the year.
(Em Burfitt – Contributor)

Sink Ya Teeth – Sink Ya Teeth
Having marked them out as ‘Ones To Watch’ last year, it certainly seems that Maria Uzor and Gemma Cullinford – aka Sink Ya Teeth – have proved us right throughout 2018; this year has seen the Norwich duo receive acclaim from BBC 6 Music’s Steve LaMacq and The Guardian, support big names such as Chk Chk Chk and Eton Crop, and release their banger-filled debut album.

Filled with addictive, pulsating beats and ‘80s-inspired dance-pop hooks throughout, the album is an epic sonic journey from start to finish. From the pounding energy and funk-fused bass hooks of singles such as ‘Pushin’ and ‘If You See Me’, to the swirling, whirring soundscapes of ‘Glass’ and ‘Complicated’, each track is an utterly infectious slice of thumping electro-punk. And add Uzor’s smooth, soaring vocals to the mix, and what you have is something completely unique and truly exquisite.
(ML)

Haiku Salut – There Is No Elsewhere
For many it will be hard to imagine how an instrumental album can so clearly communicate a message, not just a feeling evoked by sound but a clarion call. On their third album Haiku Salut manage just this though – their most cohesive work to date There Is No Elsewhere is beautiful in sound and theme, as it reflects the dramatic landscape of their Derbyshire home and combats the societal narrative of division with a love-letter to togetherness.

The album moves their intricate and fascinating music on. Here we get a more deliberate and incredibly thoughtful play between analogue and electronic, a blurring of the line between musician and instrument as organic and digital interlock. Community is roused through the clever use of brass bands, while rhythms incite and encircle swells of feeling.

There Is No Elsewhere is a remarkable work from a band who should be considered a national treasure.
(Sarah Lay – Contributor)

TAYNE – Breathe
With a sound as distracting as the shade of pink that creator Matthew Sutton paints his lips with for their live shows; TAYNE’s debut album is a vital, abrasive, cathartic listen fuelled by abrasive synths and explosive pay-offs. TAYNE’s music is some of the most interesting and altruistic I’ve heard all year; blurring the lines between industrial, synth-pop, shoe-gaze and alternative; a visceral cacophony of synth textures and drum patterns, alongside Sutton’s hair-raising screams. It’s an emotional exorcism with a pop sheen, and I’m very glad it dropped in to my inbox at the beginning of this year.
(KC)

First Aid Kit – Ruins
It’s easy to dismiss ‘break-up albums’ as being forty minutes of wallowing in self-pity, however Ruins deals with the whole spectrum of emotions which comes with grieving a relationship without any of the bitterness – demonstrating a gentle strength which we can all relate to. Personal favourite ‘Rebel Heart’ introduces us to the darkness, before the uplifting harmonies of ‘It’s A Shame’ show the empowerment which comes with self-reflection, whilst the twinkling melodies of ‘Fireworks’ convey that common nostalgic, rose-tinted outlook with a chorus worthy of belting out in the shower.

If music reflects the journeys we all embark on in life then Ruins beautifully encapsulates the complexities of relationships. It reassures us that it is normal to feel a wide-range of emotions all at once – that it is okay to be vulnerable.
(Nicky Lee-Delisle – Contributor)

Hilary Woods – Colt
A contemplative, carefully crafted record which schools listeners in how to come undone: Hilary Woods’ debut album is an exquisitely painful exploration of grief, separation, and abandonment. The Dublin-based artist signed to altruistic label Sacred Bones to release her first full-length record, and the partnership is one I wholly approve of. Comfortably overlapping both acoustic and electronic genres, underneath all of Woods’ melancholy sounds there lurks a quiet power: a power that comes from being honest about genuine pain. When I saw her perform live at St. Pancras Old Church earlier this year, I was overwhelmed with emotion and felt too shy to approach her after the gig at the merch stand, where I bought a copy of her album. If I had, I definitely would’ve thanked her for making such a beautiful, rewarding record.
(KC)

Dream Wife – Dream Wife
It’s hard to find a band who have been as consistently brilliant in 2018 as Dream Wife, and their self-titled debut is a case in point. From Fall meets ESG psycho-drama ‘FUU’, high-school Stooges ‘Let’s Make Out’ and Toni Basil gone garage ‘Hey Heartbreaker’, you might think it’s all a blast. But the group can emote too – ‘Love Without Reason’, ‘Somebody’ and ‘Fire’ showing off their pop qualities. It’s all kept simple, and that’s Dream Wife’s genius.
(John McGovern – Contributor)

The Lovely Eggs – This Is Eggland
Ever since being completely blown away by The Lovely Eggs at Indietracks Festival this summer, I’ve been more or less obsessed with the Lancaster duo. Lucky enough to catch their utterly immersive set for a second time at The Scala this Autumn, I’ve had their This Is Eggland album pretty much on loop throughout 2018.

From the swirling, psychedelic cacophony of tracks such as ‘I Shouldn’t Have Said That’, to the uplifting lo-fi fuzz and anthemically catchy spirit of ‘Hello I Am Your Sun’ and ‘Wiggy Giggy’, the album oozes a frenzied, riotous energy and spiralling sense of urgency throughout. With Holly Ross’ blunt realism and scathing retorts to all the dickheads out there, The Lovely Eggs stand out as one of the most relevant bands around – echoing the feelings of the many, with their subtle social commentary and refreshing cynicism providing an apt accompaniment to the eccentric musicality of This Is Eggland.
(ML)

The Soft Moon – Criminal
The second Sacred Bones album to make my list this year is The Soft Moon’s Criminal. It’s a gripping, teeth-grinding, ultra-cathartic affair; and when heard live it’s a different beast entirely. I have all the time in the world for men who explore their mental states through the medium of music, and listening to Criminal feels like an exploration of this kind. The Soft Moon (aka Luis Vasquez) takes memories of childhood trauma, misplaced guilt and self-hatred, and allows himself to “cross the line” and produce a truly breath-taking collection of industrial, electronic soundscapes here. I’ve had ‘Burn’ on repeat all year long.
(KC)

Chorusgirl – Shimmer and Spin
Following 2015’s wonderful self-titled debut, this year GIHE faves Chorusgirl released their long-awaited new album Shimmer And Spin, and we couldn’t be happier for them. Chronicling a tense year, created during a period of crippling anxiety and a relentless string of bad luck and bad news, the new album is the result of immense hard work and dedication from Silvi, Faith, Udo and Michael. Of the writing process, Silvi explains: “There was barely a month without bad news on a personal and wider level, and at the end of that year, my anxiety started to spike badly. The album became a very important anchor. Every note and lyric were raked over and looked at twice; we were hacking and honing away at the songs for months, trying to craft some sort of sculpture of our state of mind.”

Despite oozing a darker undercurrent than previous offerings, Shimmer And Spin showcases Silvi’s distinctive, lush vocals throughout, as effervescent harmonies and impressive driving riffs flow, creating Chorusgirl’s utterly unique, shimmering sounds. From the sparkling garage-pop of tracks such as ‘No Goodbye’ and ‘In Dreams’ to the simply spine-tingling soaring emotion of personal highlight ‘Stuck’, this album – and the determination that went into creating it – showcases exactly why Chorusgirl are one of my favourite bands of the last few years.
(ML)

ALBUM: Fightmilk – ‘Not With That Attitude’

There’s something about Fightmilk’s debut album, Not With That Attitude, that takes me back to my youth. I realise that nostalgia is a given as a writer, but it takes a special band and a special punk pop-rock sound to do it for me. Keep your Something Corporates, I’ll take ‘Dream Phone’ and ‘Your Girlfriend’ over Fall Out Boy and Paramore any day.

With relatable lyrics that never cease to be less than blamefully self-deprecating and angsty, Not With That Attitude has created itself a lie in just its title. Fightmilk are going somewhere. They’re going through the motions and creating art. More than that, listening to this album makes me want to be young again. To feel okay with feeling not okay. Morein, to feel not okay with feeling not okay, and it being acceptable to do that.

In parts, such as one of my favourite tracks on the album, ‘Solving Crimes in Sweden’, the album could add to the perfect soundtrack of one of those alt-teen movies of the ’90s. The kind where Dawson was a dick and cried all the time and Ryan Phillippe was a dick but hot, not the kind where Freddie Prince Jr. is falling for the “ugly girl” and there’s a happily ever after.

It’s an album that marries pop-punk sensibilities with Natalie Merchant vibes, with both halves somehow seamlessly interjecting with one another; the same beast with an entirely different piece of lore. It’s also an album that reminds you that no matter what mistakes you make or how much you fall down, there’s always a “then…”

Not With That Attitude is the perfect record for those burgeoning onto the scene of adulthood. But it’s also magic at speaking to those of us still trying, twenty years on.

Favourite tracks: ‘Solving Crimes in Sweden’, ‘Get A Grip’, ‘Over’. 

Not With That Attitude is out now via Reckless Yes. Catch Fightmilk live headlining for us at The Finsbury on 14th December!

Em Burfitt 
@fenderqueer

PLAYLIST: September 2018

Summer’s over and so is festival season, but fear not! Our brand new September playlist is here to to brighten up your day. This month is shaping up to be something special sound-wise, and we’re excited to share our track selections with you. Take some time to scroll through our words, and hit play on the Spotify link at the bottom of the page…

 

Noga Erez – ‘Cash Out’ (feat. SAMMUS)
The idiosyncratic voices of Tel Aviv’s Noga Erez and Philadelphia rapper SAMMUS combine in superb style on this new track, which is the perfect follow up to Erez’s previous knockout single ‘Bad Habits’. Together, the pair “call out the contradicting and chauvinistic pressures piled on women through consumerist society” with defiant, seething flair. I cannot stop listening to this total T.U.N.E. (Kate Crudgington)

Basement Revolver – ‘Heavy Eyes’
‘Heavy Eyes’ is the new single from Canadian indie-rock trio Basement Revolver taken from the debut album (also called Heavy Eyes) which was released in August via Fear of Missing Out Records. The track is about feeling tired and how hard life is when you’re in that tired state…PREACH. I love the track’s rhythmic percussion with those distant vocals pushing me into that hypnotic hazy state. (Tash Walker)

Twist Helix – ‘Graphite’
Taken from their upcoming debut album, Twist Helix’s new single ‘Graphite’ is a song about the artist feeling frustration as she cannot articulate an authentic vision of her city. A sweeping, cinematic offering, it juxtaposes dynamic, synth-heavy beats with a twinkling musicality and the soaring impassioned vocals of front woman Bea Garcia. Ouseburn, the upcoming album from Twist Helix, is out 5th October. (Mari Lane)

Fears – ‘Blood’
Flitting between Belfast and Dublin, Irish musician Fears (aka Constance Keane) creates sublime electronic-based soundscapes. I first heard ‘Blood’ on The Irish Jam, and I’ve been haunted by her melancholy soundscapes ever since. I’ll definitely be keeping tabs on this talented newcomer. (KC)

Ah! Kosmos – ‘Wide'(feat. Özgür Yılmaz)
Atmospheric guitar, captivating percussion and hypnotic vocals melt together on Ah! Kosmos’ new single. The track is taken from her upcoming second album Beautiful Swamp, which is set for release on October 5th via Compost Records. Born in Istanbul and now based in Berlin, Ah! Kosmos (aka Başak Günak) is a sound designer, producer and multi-instrumentalist. She sweeps listeners up in to a rapture with her intense soundscapes filled with rhythmic guitar melodies, and her collaboration with guitarist Özgür Yılmaz on ‘Wide’ is another stunning example of this. (KC)

Koschka – ‘The Flood’
The new single from Berlin-based Koschka, ‘The Flood’ oozes a sweeping grandeur and haunting, majestic power. Inspired by themes of ephemeral love, acceptance and regret, it flows with twinkling keys as the impressive range of Koschka’s resonating vocals soar across a luscious soundscape with an effervescent grace. Truly spellbinding. (ML)

Okay Kaya – ‘Habitual Love’
Okay Kaya who hails from Norway has only recently popped up on my radar, but I’m so glad she did. Currently in the process of releasing a series of loosely-connected, slightly disconcerting music videos for her album Both – manifesting themes such as love, voyeurism and trauma as another physical body. This is my favourite of the releases so far – ‘Habitual Love’ whose gentle beats and Sade like melodies take on a life of their own when you watch the video. However you consume this…it’s fantastic. (TW)

The Menstrual Cramps – ‘The Smash’
Raw, righteous, and a rallying cry against pervasive capitalist and patriarchal oppression: The Menstrual Cramps’ released their sophomore album Free Bleedin’ at the end of August, and it drips with irrepressible anarchy and wit. ‘The Smash’ is the second track on the record, calling for a political and personal revolution. The lyric “Theresa May don’t even masturbate” is a personal fave here. (KC)

Peach Club – ‘Boy In A Band’
A gritty, raging attack on those ‘boys in bands’ that we’ve all come across – those disgusting guys who use their self-proclaimed ‘fame’ to take advantage of young women – ‘Boy In A Band’ rages with a raw ferocity, thrashing hooks and driving beats, building with a frenzied energy to a riotous anthem, blasting into the ears with a racing sense of urgency. And rightly so. We need voices like Peach Club’s now more than ever; a voice that gives motivation and inspiration to girls and women to speak out and be heard in order to prevent the damaging actions of certain boys in bands continuing to be swept under the carpet within the music industry. And we cannot wait for Peach Club to headline our Blogtober event at The Finsbury on 12th October! (RSVP here(ML)

Fightmilk – ‘Four Star Hotel’
Fightmilk have now signed to Reckless Yes and announced the release of their truly fantastic debut album Not With That Attitude (due November 2nd). Taken from the album, new single ‘Four Star Hotel’ is a scuzzy, sparkling anti-love song spiced with a tongue in cheek wit and refreshing cynicism. Another immensely catchy, instant smile-inducing slice of luscious punk-infused indie-pop at its finest. And we cannot wait for Fightmilk to play for us again at The Finsbury on 14th December! (RSVP here). (ML)

Dolls – ‘Sugar Free’
Prepare to have your bubble well and truly popped by the sound of DOLLS’ latest single ‘Sugar Free’. The London-based duo have delivered another catchy slice of grunge-pop glory, alongside the news they’ll be releasing their debut EP Pop The Bubble on September 21st. (KC)

Value Void – ‘Babeland’
I just think this is such a tune. ‘Babeland’ by London trio Value Void is taken from their upcoming debut album set for release on 26th October via Tough Love, which they’ve described as “a luxuriantly deep, shag pile-warm, analogue proto punk collection”. This particular song is about one night in a pub when everything looked grim except for two very attractive men kissing. I love the hazy dreamlike sound which for me was the perfect accompaniment to the hazy warmth of this London Summer. (TW)

Dott – ‘Wedding Song’
Taken from their recent album Heart Swell, Dott’s ‘Wedding Song’ is a poignant ode to love in all its forms, and a celebration of Ireland’s vote to legalise Same Sex Marriage in 2015. The Galway-based band will be headlining our first Get In Her Ears Night at The Five Bells on October 26th (RSVP here). (KC)

IDER – ‘Body Love’
I could listen to this song over and over and over. Such beautifully intricate harmonies, carefully weaved together over the course of ‘Body Love’, I’m left wrapped in the song’s self-affirming message each and every time. I’ve picked this track because I’m going to be seeing IDER play at The Village Underground on 2nd October, and I cannot wait. (TW)

Tirzah – ‘Gladly’
Beautifully understated, gently hypnotic and lyrically touching. I cannot get enough of Tirzah right now, and you know what, it’s not just this track…but the whole album Devotion. What can I say…I am hopelessly devoted. Cringe statements aside, please go listen if you haven’t already, your life will be better for it. (TW)

Track Of The Day: Fightmilk – ‘Four Star Hotel’

Following utterly infectious offerings such as ‘Pity Party’ and ‘Bank Of Mum And Dad’, GIHE faves Fightmilk have now signed to Reckless Yes and released their truly fantastic debut album Not With That Attitude. 

Taken from the album, new single ‘Four Star Hotel’ explores the end of band members Alex Wisgard and Lily Rae’s respective relationships. A scuzzy, sparkling anti-love songs spiced with a tongue in cheek wit and refreshing cynicism (“a four star hotel, we still didn’t fuck…”), the track turns the usual romantic vision of trips to Amsterdam on its head. Of the track, Alex explains: “… almost every line is based on one of our two true stories, from the shit-eating grins in the holiday photographs to having to push two twin beds together in a hotel room.”

Filled with jangly riffs and Lily’s silky smooth vocals, true to Fightmilk form, it’s an immensely catchy, instant smile-inducing slice of luscious punk-infused indie-pop at its finest.

 

Not With That Attitude is out now via Reckless Yes. Catch Fightmilk live at their launch show on 2nd November at The Shaklewell Arms. Or, live at The Finsbury for yours truly on 14th December!

Mari Lane
@marimindles

Get In Her Ears Live @ The Finsbury w/ Suzie Stapleton, 11.05.18

Following a host of super amazing bands playing for us recently – including LIINES, Witch Fever, The Magnettes, H.Grimace, Ghum and Dream Nails  – we were back at The Finsbury on Friday night for another jam-packed night of the best new music.

Noise Noir kick off the night in style with their sultry desert-rock and racing, blues-ridden hooks. With their snarling energy and stomping sounds, expect big things from this exciting new band…

Next up, awesome electro-pop artist Gaptooth wows us with her immense keytar skills and insightful social commentary; topping off the set with an ‘End Of Patriarchy Disco’ that we all so badly need.

Penultimate band of the night Fightmilk deliver an immense, energy-fuelled set, despite front-woman Lily being almost voiceless. After blasting out the wonderfully catchy power punk-pop of ‘Pity Party’, they enlist a range of willing volunteers to help sing the remaining songs. Despite feeling bad for Lily’s throat, it’s an unforgettable and joy-filled half hour, showcasing the unity of the DIY spirit and impressive improvisation skills of this band.

Bringing the night to a close, Australian artist Suzie Stapleton captivates us all with the raw power of her deep vocals and haunting, other-worldly splendour. With impressive musicianship and dark majesty, she casts us all under her spell.

HUGE thanks to all the amazing artists who played for us last night. And we’re very excited to be hosting another gig this month, this time at  Brixton Windmill, with Heavy Heart, Tokyo Taboo, Hanya and Scrounge.

Words: Mari Lane / @marimindles
Photo Credit: Jon Mo / @jonmophoto