Track Of The Day: HAVVK – ‘Automatic’

Having been huge fans of HAVVK since they headlined our first gig at The Finsbury back in 2016, we’re super excited to hear that they will be releasing their greatly anticipated second album this Autumn. With support from the likes of Radio X, BBC 6Music and Wonderland Magazine under their belts, the Dublin-based trio have now shared a poignant new single to accompany the album announcement.

Propelled by a gritty, swirling energy, ‘Automatic’ looks back on memories of emotion-filled teenage years. Starting out by creating a gentle, sparkling atmosphere, the track builds with an angst-fuelled drive as the subtle, soaring power of Julie Hough’s distinctive celestial vocals flow. Rippling with frenzied, reverb-strewn hooks alongside a twinkling ethereal majesty reminiscent of The Smashing Pumpkins, the track showcases HAVVK’s utterly unique knack for creating beautifully captivating soundscapes interwoven with a raging, grunge-fuelled scuzz. An exquisitely cathartic sonic fusion.

Of the track, Julie explains:

“‘Automatic’ is about cherishing childhood friendships and the way that they evolve. It’s about snapshots that will always be imprinted in our minds – for me it’s hours talking on the landline, swapping clothes, burning CDs, mitching school or going to gigs for the first time. It’s about the fuzzy feeling of nostalgia when you slip back into a conversation with an old friend as if you saw each other yesterday. But it’s also about being afraid to lose that feeling; being anxious that those memories might burnaway and having to be open to growing together even as your paths change.”

Recorded at Belfast’s Start Together Studios with GIHE fave Rocky O’Reilly, Levelling – the upcoming album from HAVVK – is set for release on 17th September via Veta Records.

Mari Lane
@marimindles

Photo Credit: James Byrne

INTERVIEW: Fears

An intuitive artist who transforms her darkest moments into graceful electronic soundscapes, Fears aka Constance Keane is days away from sharing her debut album, Oíche. Set for release via her own label TULLE on 7th May, the Irish-born, London-based musician balances her intense ruminations on trauma alongside delicate synth loops and tentative beats to shine a light on the fluctuating nature of mental health and the resilience that she’s gained from an honest approach to her on-going healing process.

GIHE Features Editor Kate caught up with Constance to talk about TULLE, the anticipations and events that went into creating Oíche, the importance of friends and family in that process and the hugely supportive women in the Irish music scene who help keep her going…

Hello Constance, last time we spoke in December 2020 you had just launched TULLE Collective. How have things with the label been since then?

Really good. Really, really good. I don’t think I expected the level of support that we have actually had so far, which has been quite reassuring. I kind of had no idea if people would actually respond, or if it would even be viable in any way – I just really wanted to do it. We’ve released a few singles now and the reaction’s been really nice. We’ve felt this community building around us which feels really special. It’s weird, because I’m using my own album as a guinea pig for this, so there’s double layers of emotional investment. So when when anything good happens, I feel it twice as much and it’s the same as when rejections happen too.

It’s not long now until you release your debut album Oíche out in the world. What are you most proud of about this record?

Finishing it was a really big deal. When I started writing music for Fears, I knew I wanted to put out just singles until I had an album ready. I wanted it to be an entire body of work, whenever it was ready. I feel like a lot of it is tied in together thematically.

Sometimes when you work on something for years – it’s been over five years I’ve been working on this – it can be really hard to decide when something’s done. Especially when you’re writing something and creating something that is so personal. Your life continues on, but you have to decide where you draw a line with packaging art made out of your experiences. It’s kind of been like deciding, for me personally, this one chapter can end and now I can begin work on the next one. It feels like not just tying up making an album but it’s like tying up a whole load of experiences as well.

You’ve been open about the context for many of the tracks on Oíche and how they are rooted in your experiences of trauma. When I listened to the album I found it quite uplifting – I noticed a genuine buoyancy to the music, even though lyrically it’s quite sad. Do you do this consciously to balance these contrasting emotions?

I enjoy listening to music that has a level of juxtaposition in it. I like listening to things that if you’re in one mood, you’re going to interpret it as devastating, but if you’re in another mood you’re open enough to hearing the uplifting parts of it. I’m really interested in how art in general is interpreted, so allowing space for the listener to project their own feelings that day onto my music is quite important to me.

I tried to create a sonic landscape that reflects what’s going on in my head at the time. That doesn’t necessarily mean that I’m going to write really upsetting guitar lines, it’s more to do with when I’m in a certain headspace, I get very repetitive intrusive thoughts. So I like having the same beat going for the entire song or having a guitar line loop the entire way through to reflect that. The lyrics might be bringing you on a journey of progression, but the music might keep you stuck, or else I like to do it the other way around.

When I was writing the album I was processing complex PTSD and before that when I was in an abusive relationship, but I was still going to work and the world was still happening. I think in real life, we do have these heavy things happening to us but I think it’s important for my music to reflect the kind of day-to-day experiencing of these things.

The repetitive thought pattern was a big thing for me, because I’m a person who takes so frickin’ long to process anything. I’m a person that needs to talk about things loads and I need to sit with things in order to then move past them. I’ve pretty much always been like that. So having that repetitive nature in my music and lyrics is just a realistic depiction of how I deal with day to day life.

I mean, there’s points on the album where everything did stop. I think that’s important to acknowledge as well. A lot of the time we keep doing the day-to-day things as the situation is getting worse and worse and worse, so you end up not having a choice to keep going anymore. I wanted that contrast as well. I wanted to show the times where I had to keep going, but also where I had to absolutely pause and where I did basically nothing for months after having a breakdown. Then it’s about rebuilding yourself after that.

To me, Oíche is kind of funny to listen to, because there’s stuff that happened pre-breakdown, breakdown and post-breakdown. I mean, I didn’t organise the songs in that order, but I know where each one sits and that gives me a lot of hope – to have a full picture of it for myself.

It sounds like you’ve worked incredibly hard to get to a place of such resilience. When you decided to write about your experiences, were you nervous to put them out into the world? Of course, there’s a level of excitement and pride that comes with releasing a record, but have there been moments of hesitation about releasing music that’s so personal to you?

Yeah, I mean, parts of me still are. I’m very open to talking about mental health issues or trauma. I have no issue talking about what happened to me and my experience of things, I’m very comfortable doing that. To me, it’s actually easier to be honest about it, rather than having to come up with ways of down-playing things or making excuses about where I was at certain times.

I think it’s really important that when you’re doing that, you’re doing that knowing the other person’s interpretation of you is not actually anything to do with you. So, if somebody gets freaked out when you’re like, “Yeah I was on a psych ward for six weeks blah blah, blah,” that’s their own freak out to have, that’s not yours. You can let them hold on to that rather than them passing it on to you. But it takes a certain level of work to even get to that point. So I guess, at this point, I still have waves of feeling like, “Whoa, how am I putting this out after all this time? really?” But overall, I’ve just worked so hard on this.

I don’t really have high expectations for how anybody is going to listen to it. I would like people to enjoy it, but it’s more for me. It’s more of a personal goal of mine. I mean…obviously, please listen to my album and if you want to give me a 10/10 review, I’ll take it! But it’s more about me doing this thing that I said I was going to do, and me doing it in a way that I’m most comfortable with and that I feel I can enjoy the process of.

Well, I think it’s a beautiful record, so you will be getting a 10 out of 10 review from me…

Thanks! I’ve been super lucky in that I’ve had such a solid support system around me the whole time. So while people weren’t physically writing the music with me, I did have so much support from a really good friendship circle and a very supportive family to help build me up throughout this.

For my family as well, it almost feels like a success for them for this to be coming out. Because, you know, a few years ago – I was planning on not being alive. So when I was writing some of the songs on the album, I wasn’t writing them for anybody to hear them. We kind of feel almost giddy about it – it feels like such a huge thing to release work that was made at a point when the idea of releasing anything just wasn’t even on the cards. It feels like a personal victory.

My family are so excited. My Mum reads my different interviews and listens to my stuff on the radio and she’s buzzing.

I know your family help you with so much behind the scenes as well – shooting music videos, featuring in them etc. Do you think it’s strengthened your existing relationship with them?

Definitely. Going through stuff like that as a family can almost break you. When I had a breakdown, it was a really bad time as a family and they were super supportive. To see your family member that unwell is a really scary thing. I think that having them so involved in building this thing afterwards has been really nice, it’s been a really wholesome point of connection.

Filming my videos with my brother has just been hilarious to me. He didn’t film anything before this and he’s just done so much for me and this project. I think it was nice for him to be excited about a creative thing during Covid-19 as well. A load of this also just came out of the fact that I moved home when Covid hit in 2020, I moved back to Dublin for lockdown and…what else were we gonna do?

Do you have a favourite track on the album and if so, why?

I mean, it changes, but I have one at the moment. My favourite track is the opening track ‘h_always’. It’s my favourite because I haven’t touched it. I recorded it completely at the time of writing it, and that was in the music room of the hospital I was in.

I listened back to it and I almost – not in a mean way – but I almost laugh at myself, because I wrote it at a time before I’d realised a lot of things. I guess listening back to something where you were so sure of a different narrative and now you know the truth can actually be really good, because it reminds you that just because you think something is one way right now, doesn’t mean it’s going to be like that forever. So, for me to listen back to that song now and to be able to prove myself wrong – it brings me a lot of comfort.

There’s also just random bits that are recorded in it near the start of the song, if you listen really carefully, you can hear the noise of a tram going by outside the walls of the hospital. I recorded the whole thing just on my MacBook mic, because I didn’t have any recording equipment in there. I haven’t even tried to re-record it. I don’t want to. I just like it left that way.

You have been working on Fears for some time now, but I know you’re involved in other musical projects too. You’re in post-punk band M(h)aol, you’ve also been in one of CMAT’s music videos and you’re friends with Julie from HAVVK – who we also love here at GIHE. You’re part of this amazing community of female musicians in Ireland. Just take a few moments to tell me how great that is, because it looks great from an outsider’s perspective…

I love it so much. There’s such a level of women supporting each other in Irish music at the moment, it’s unlike anything I’ve ever experienced before. I started making music when I was 18 and if this had been the case then, I think I would have started out with a completely different level of confidence.

Back then, if you were on a line-up of four bands and there was one girl in one of the other bands, you were doing well. You used to go into venues and during soundcheck just feel quite uncomfortable and like you’re being judged. Whereas now I feel like there’s this network, even online, during Covid where no-one’s even playing shows, where everyone is supporting each other. There’s a real sense of camaraderie in it.

I think we have all grown-up around a similar scene and at a similar time. We’ve all had those experiences of feeling very alien to the norm in the Irish music scene. I feel so grateful that there’s now a space for celebrating something else and a real community where we’re sharing stuff that’s from completely different genres – like wildly different genres. My music sounds nothing like CMAT. At all. It doesn’t sound like HAVVK’s music, it’s totally different. But yet, these women are just really supportive. I think we all recognise how hard everybody works and we have a huge level of respect for each other in that sense.

I genuinely think that’s amazing. Here in London, aside from the GIHE community that I’ve surrounded myself with, I don’t see London or UK bands support each other in the same way that Irish bands do.

I think maybe it’s because we have such low expectations for success. Not in a bad way! I think that frees you up a lot because you just don’t interpret anybody as competition. Because you’re all just doing your own thing. In Ireland, there’s such a long history of gigs that you go to with three or four bands on the line-up that all sound very different because there’s not that many places to play. There are great places to play, but there’s just not that many. So the scenes in Ireland aren’t even necessarily built around the genres at all. I think that is kind of responsible for how there’s such an even crossover with stuff.

I find here in London, because I work in music here in London, a lot of the time people don’t share stuff that they didn’t work on and that’s so weird to me. I remember when I put out a song, I was really confused as to why people were privately messaging me being like “yeah, good job!” but no one would actually share it. I was talking to one my best friends about it and I was like, “it’s just so weird,” and they were like, “no, that’s how you do it here.” I think it’s a very different approach.

The Irish music scene is tiny, so if you’re mean to each other, it’s very awkward when you see each other in the shop the next day, you know? But you also end up getting to know people so well that any kind of preconceived notion you had of them beforehand is wiped away. So it’s hard to be jealous when you’re like “I know that person and they’re really sound.” There’s also a higher chance of actually getting signed here in London. The stakes feel like they are higher here.

That makes sense. As we’re a new music blog, we always ask artists to recommend an artist or band for us to listen to. You’ve mentioned CMAT and HAVVK, is there anyone else you’d like to give a shout out to?

Mia Sofia. She writes songs really poetic songs about literature and Irish history. Her lyrics and her voice are really beautiful and really honest and I feel very connected to them. I have essentially been friending her online for almost two years now. I’ve never met the girl, but that’s fine! I love her. I think she’s absolutely amazing.

There’s an amazing rapper and producer called Celaviedmai who I absolutely adore. I think she’s incredible. She just feels so authentic and so herself and that’s a wonderful thing to see. I always like to look up to people like that.

My friend Sarah Merricks is in a band called Pixie Cut Rhythm Orchestra. They released a song on Valentine’s Day called ‘I didn’t love you when I said I did and I don’t now,’ which is so, so good. Her song-writing is great, she’s just so clever. You can imagine her singing with a kind of smirk and I love that.

Thanks so much to Constance for chatting to us!

Pre-order your copy of Fears’ debut album Oíche here

Follow Fears on bandcampSpotifyInstagramTwitter & Facebook
Follow TULLE on Instagram & Twitter

Photo Credit: Bríd O’Donovan

Kate Crudgington
@KCBobCut

PLAYLIST: February 2021

We’ve made it through the first two months of 2021! Despite the current lockdown here in the UK, the GIHE team have been busy unearthing more new music gems to help you get through these long and tedious days. We’ve put together an eclectic mix of alt-pop gems, atmospheric electronics and gritty guitar tunes on our February playlist.

Take some time to scroll through our track choices below and make sure you hit play on the Spotify playlist at the end of this post. Follow GIHE on Spotify to hear all of our previous playlists too.

 

Scrounge – ‘Leaking Drains’
The new single from South East London duo Lucy and Luke – aka Scrounge – ‘Leaking Drains’ offers a stark soundscape reflecting on the state of society at the moment. Propelled by Lucy’s raw, snarling vocals and slashing guitar alongside Luke’s immense, thrashing beats, it builds to a colossal cacophony before coming to a disconcerting, abrupt end – only adding to the stirring tension that has built up throughout. Oozing a ferocious power, the duo have created something that is striking both in its jarring potency and rage-driven force.
(Mari Lane – Managing Editor)

HAVVK – ‘Home’
The first single to be shared from HAVVK’s upcoming new album, ‘Home’ is a stirring reflection on appreciating those closest to you. Propelled by a shimmering ethereal fuzz, the track showcases the soaring celestial majesty of front woman Julie’s vocals, as they float with an impassioned splendour over scuzzy hooks and a gritty, driving energy. Fusing together tinges of ’90s grunge-fuelled angst with twinkling shoegaze sensibilities and the band’s own unique poignant grace, it’s a truly captivating soundscape. (ML)

Softcult – ‘Another Bish’
Informed by their love of Bikini Kill and Smashing Pumpkins, alternative duo Softcult blend atmospheric guitars, energetic percussion and bittersweet vocals to create their hazy, antagonistic sounds. Formed of Ontario-based twin sisters Phoenix and Mercedes Arn Horn, this single ‘Another Bish’ was born from their desire to resist and relieve the pressures of existing in a patriarchal music industry. I had a lovely chat with the grrls over Zoom a few weeks ago which you can read here.
(Kate Crudgington – Features Editor)

New Pagans – ‘Harbour’
A tenacious celebration of women’s strength and resilience throughout pregnancy and childbirth, New Pagans’ latest single ‘Harbour’ is based on the experiences of vocalist Lyndsey McDougall’s pregnancy with her own daughter. Full of the Belfast band’s trademark urgent riffs and catchy melodies, it’s an empowering examination of the fears and triumphs that accompany this unique time in a woman’s life. I can’t wait to hear New Pagans’ debut album, The Seed, The Vessel, The Roots and All, when it’s released on 19th March. (KC)

Grandmas House – ‘Always Happy’
A thumping post-punk anthem that seethes with sardonic wit, ‘Always Happy’ is the latest single from Bristol-based trio Grandmas House. Released via Brace Yourself Records, the track is a raucous juxtaposition of the confident image we project externally to others, when internally we often feel the complete opposite. (KC)

Pretty Happy – ‘Salami’
A wise-cracking anthem about the complexities of processed meat, ‘Salami’ is the new single from Cork art-punk trio Pretty Happy. Full of sarcastic lyrics, gutsy vocals and crashing percussion, the track is a ridiculously good off-kilter banger that rambles through the band’s many absurd thoughts and feelings about the pork-based snack. (KC)

Hadda Be – ‘Another Life’
Complete with a refreshed line-up and new name, Hadda Be (formerly Foundlings) bring their shimmering joy to latest single ‘Another Life’. Despite the track’s somewhat melancholic sentiment – “it covers me in worry, now that’s all I ever know” – it’s buoyed by an infectious jangling energy as scuzzy hooks whirr alongside frenetic beats and Amber’s rich vocals. An uplifting slice of indie-fuzz-pop that’ll leave you longing to dance along to its sparkling sounds live. (ML)

Lauren Auder – ‘Heathen’
“I think this may be my favourite song I’ve ever worked on,” explains London-based songwriter Lauren Auder about this track, and I can see why. ‘Heathen’ is actually my first introduction to her sound, but what an intro it is! It mixes everything I love about electronic music – yearning vocals, urgent beats, rapturous synths and guitar noises – it’s all here and it gives me goose bumps every time I listen. Definitely check out Auder’s new EP, 5 Songs For The Dysphoric, if you’re into this. (KC)

Tyler Holmes – ‘Nothing’
I’ve only recently become acquainted with Tyler Holmes, but I have fast fallen in love with their poignant, affecting and utterly unique sweeping electronic soundscapes. Holmes has spent a lifetime crafting their own Black, Queer narrative by pushing the limits of their imagination and their innovative ability to fuse together genres to create truly stirring, instantly immersive sonic trips is showcased perfectly on ‘Nothing’. Holmes is set to release their new album next month via Ratskin Records. Watch the video for ‘Nothing’ here. (ML)

SPIDER – ‘Water Sign’
Born in Nigeria but raised in Dublin, London-based twenty-one year old SPIDER blends jagged electronics and brooding guitar riffs alongside her distinctive vocals to create her evocative sounds. Her focus is on how a track makes you feel – whether that’s a feeling of power, fluidity or chaos – and on ‘Water Sign’ she weaves these emotions into a cohesive, stirring electronic soundscape. (KC)

Roma – ‘Stay Like This’ (Tiiva Remix)
I’ve been following queer artist & producer Tiiva since I heard their re-working of Despicable Zee’s ‘We Won’t Stop’ last year, and I’m continuously impressed by their instinct for choosing talented and interesting artists to collaborate with. Tiiva reached out to songwriter Roma during lockdown after hearing her track ‘Stay Like This’ and the pair have worked together to create this lush, dreamy electronic tune. Roma originally wrote this song from the perspective of her daughter, exploring what it means to grow up in a modern world and Tiiva overcame their own adult cynicism to create this woozy new remix. (KC)

Show Boy – ‘Turn It On’
Following 2019’s Surreal, London artist and producer Show Boy has today released his much awaited brand new EP Ishtar Lion. A wonderfully eclectic collection, the EP showcases Show Boy’s knack for blurring genre boundaries, combining influences from across the musical spectrum to create perfectly catchy offerings oozing an uplifting, vibrant energy and heartfelt emotion. Driven by the soaring power of his unique vocals, ‘Turn It On’ interweaves an intricate musicality with a sparkling soulful splendour, resulting in a euphoric ode to new beginnings. (ML)

Callaz – ‘Queima Essa Ideia’
Recorded in Berlin and produced by the brilliant Ah! Kosmos, the title of this latest single from songwriter Callaz translates roughly as ‘Burn That Idea’. Based between Lisbon and Berlin, Callaz has recently released her second album, the brilliantly titled Dead Flowers & Cat Piss, and it’s full of her soft vocals, candid lyrics and alt-pop soundscapes. (KC)

Grove – ‘Ur Boyfriend’s Wack’
Bristol-based hyperpop artist Grove blends chaotic synths, warped beats and wicked rap verses on this high octane track ‘Ur Boyfriend’s Wack’. Taken from their debut EP, QUEER + BLACK, this song forms part of Grove’s aural journey through their experiences of being young, black and queer. (KC)

Ci Majr – ‘Summer Drug’
Ci Majr is an emerging non-binary artist from Atlanta and this new single ‘Summer Drug’ is a flirty, joyful dose of dancing beats and smooth vocals. Of the track, Ci explains: “I think a lot of us have been in a place where we’ve been hurt from a relationship and have a hard time opening up again…so this song is saying ‘yes, you can absolutely satisfy my physical needs but we’re not taking it further than that’; likening ‘using’ someone for their body just like you’d use a drug of some sort.” (KC)

Desire – ‘Zeros’
The latest single from Desire, ‘Zeros’ will capture the ears with its sweeping celestial aura. As a majestic, electro-driven soundscape provides the backdrop for Megan Louise’s honey-sweet soaring vocals, glitchy beats and twinkling hooks create a truly moreish offering, oozing an ethereal, effervescent grace. Of the track, Desire explain: “As the calendar pages fly by, we are all reaching for a new normal on what sometimes feels like an endless loop. The cyclical music echoes flashback sequences of a recurring dream.” (ML)

Blonde Maze – ‘Fade Into You’
An exquisite rendition of a Mazzy Star classic, Blonde Maze’s ‘Fade Into You’ oozes all the poignant, rich emotion of the original, whilst adding her own unique blend of soaring electronics and uplifting chiming beats to create something truly euphoric steeped in its own ethereal splendour. Another blissfully cathartic creation from Blonde Maze, showcasing her ability to take an already beautiful track and transform it into something that is completely, undeniably, and majestically, her own. (ML)

Kalbells ft. Miss Eaves – ‘Pickles’
A dreamy tune about escaping a romantic pickle, ‘Pickles’ is a delightful new offering from cosmic-pop collective Kalbells, featuring rapper Miss Eaves. Kalbell’s will be releasing their new album Max Heart on 26th March, which they describe as a “portrait of badass women harnessing their improvisational magic.” (KC)

pecq – ‘Stranger’
‘Stranger’ is the debut single from Oxford psych-pop duo pecq, aka Nikò O’Brien and Hannah Jacobs. It’s a delicate, lush soundscape which the pair wrote, produced and self-released through their own label, Upcycled Sounds Records, earlier this year. pecq are set to release their debut EP, also called Stranger, this summer. (KC)

Jenny Moore’s Mystic Business – ‘Woman Is A Word’
A cover of Empress Of’s ‘Woman Is A Word’, this latest offering from the six-piece choral punk ensemble highlights the power of voices coming together in unity. Oozing a sweeping, celestial splendour, the many vocals flow together in harmony, propelled by an upbeat, jazz-infused musicality. Adding their own unique euphoric energy to the poignant sentiment and soulful passion of the original, Jenny Moore’s Mystic Business have created an emotive and empowering rendition. (ML)

BAXTR – ‘Grace On Fire’
The latest single from London-based trio BAXTR, ‘Grace On Fire’ reflects on the feelings of helplessness that come with seeing someone you love suffer. A sweeping, uplifting slice of alt-pop it oozes nostalgic tinges harking back to the anthemic indie classics of the early noughties, whilst maintaining its own unique shimmering power. As Floss’ honey-sweet vocals flow with a celestial majesty throughout, the track builds with explosive, soaring riffs and a swirling heartfelt emotion to create something truly stirring. (ML)

Samantha Crain – ‘Bloomsday’
Taken from her upcoming new EP, I Guess We Live Here Now, Samantha Crain’s latest single ‘Bloomsday’ is a poignant slice of Americana combining beautifully strummed melodies and a stirring warmth. As the impassioned subtle power of Crain’s rich vocals ooze shades of the raw emotion of Sharon Van Etten, twinkling hooks flow with a rustic charm to gently grace the heartstrings. I Guess We Live Here Now, the upcoming new EP from Samantha Crain, is out 9th April via Real Kind Records/Communion Records. Watch the video for ‘Bloomsday’ here. (ML)

Ex:Re – ‘Where the Time Went’ (with 12 Ensemble)
This song stopped me in my tracks when I first heard it. The title, Elena Tonra’s vocals and lyrics, composer Josephine Stephenson’s cinematic string arrangements – they all resonate so much deeper during this extended period of lockdown. ‘Where The Time’ went is one of ten beautiful tracks on Tonra’s new collaborative album, Ex:Re with 12 Ensemble, and it’s accompanied by a wonderful music video that she directed too. Watch it here. (KC)

Hannah Peel – ‘Ecovocative’
I’m very late to the Hannah Peel party, but I’m in love with her ambient electronic soundscapes. This single ‘Ecovocative’ is lifted from her upcoming album Fir Wave, which is set for release on 26th March via Peel’s own label My Own Pleasure. (KC)

 

Track Of The Day: HAVVK – ‘Home’

Having been big fans of Dublin-based HAVVK since they headlined our first gig at The Finsbury back in 2016, we have been continually impressed and consistently charmed by all they’ve created since. Now, having received support from the likes of BBC 6Music’s Lauren Laverne and John Kennedy on Radio X, and following 2019’s debut full length album Cause & Effect, the trio have announced a brand new album set for release in July this year.

The first single to be shared from the album comes in the form of ‘Home’ – a stirring reflection on appreciating those closest to you. Propelled by a shimmering ethereal fuzz, the track showcases the soaring celestial majesty of front woman Julie’s vocals, as they float with an impassioned splendour over scuzzy hooks and a gritty, driving energy. Fusing together tinges of ’90s grunge-fuelled angst with twinkling shoegaze sensibilities and the band’s own unique poignant grace, it’s a truly captivating soundscape.

Of the track, Julie explains:

‘Home’ is about the freedom of youth and being oblivious to the protections you have around you. It’s about appreciating the people who have always been there for you even when you were at your worst – even if you weren’t grateful for it – and who’ve helped you get back up again every time. I feel really connected to this song right now. Over the past year, we’ve all had our social structures pulled out from underneath us and we’re missing the basic nourishment of human connection. I do miss the obliviousness of normal life (and dancing, and gigs, and hugs!), but I hope I’ll go back to the world a bit more grateful – far less transactional – and really value the humans around me.”

Produced by Rocky O’Reilly, ‘Home’ proves once again that HAVVK are a band on the rise; one who are consistently honing and developing their sound, continuing to impress and enchant the ears, not content to stick within the confines of any one sonic genre.

 

‘Home’ is out now, taken from HAVVK’s upcoming second album Levelling, produced by Rocky O’Reilly and set for release in July this year.

Mari Lane
@marimindles