GIHE: Albums & EPs of 2023

After sharing our Tracks Of 2023 last week, the Get In Her Ears team want to shine a light on some of the brilliant Albums & EPs that have been released during the last 12 months. These eclectic offerings resonated with us on many different levels and we’ll be talking about them long into the future. Huge thanks to all of the bands and artists who submitted music to us this year. These records kept us going and distracted us momentarily from the uncertain world we’re currently all living in.

So, in alphabetical order, here are our top Albums & EPs of 2023 (including multiple Honorable Mentions at the end, because we couldn’t resist…)

ALBUMS

ARXX – Ride Or Die
You all know how much we absolutely adore Brighton duo Hanni and Clara – aka ARXX – here at GIHE. Having been mega fans since they first played live for us back in 2018, the news that they were releasing their debut album this year was met with oodles of excitement from Tash, Kate and I, so I couldn’t not include Ride Or Die in this list of favourites. The album really showcases all there is to love about the utterly unique duo, and their incredible ability to fuse genres into something that is completely their own. From the catchy, pop-fuelled singalong choruses of the likes of ‘Baby Uh Huh’ and title track ‘Ride Or Die’, to the gritty energy and fierce allure of ‘Iron Lung’, and the soaring, heartfelt raw emotion of ‘The Last Time’ and ‘Never Want To Go Back’, ARXX continue to establish themselves as master creators of the freshest, most addictive and most empowering, indefinable life-affirming anthems. They truly are one of the most exciting – and completely lovely – bands in the universe, and we couldn’t be happier that they exist.
(Mari Lane – GIHE Co-Founder)

body / negative – everett
A shimmering piece of ambient shoegaze that briefly pacifies the ache of long-lingering grief, multi-instrumentalist Andy Schiaffino aka body / negative’s third album is a deeply moving listen. Released via Track Number Records and mastered by Slowdive’s Simon Scott, everett is a poetic rumination on love, loss and how they deeply affect our interactions with the world. Dedicated to Schiaffino’s late mother and father, everett features contributions from Randall Taylor (Amulets) and Madeline Johnston (Midwife). everett is a remarkable effort from an artist in acute pain. By recording through a hand-held tape recorder and filtering their vocals through a landline-style microphone, they give the record a familiar, yet far-off feeling of transience and disconnected communication. Tracing over their grief with meticulous care and tranquility, body / negative lulls listeners into a state of bittersweet calm across each of everett‘s eight tracks, with ‘persimmon’ in particular providing a glowing example of their ability to transform painful memories into sublime, ambient sounds. A truly beautiful and emotional listen that I will return to for years to come.
(Kate Crudgington – GIHE Co-Founder)

CLT DRP – Nothing Clever, Just Feelings
Released via Venn Records and full of visceral, incendiary anthems like ‘New Boy’, ‘I See My Body Through You’ and ‘Daily Affirmations’, CLT DRP’s second album is a primal, urgent reflection on heartbreak, new-found strength in vulnerability, gender fluidity and dark humour. The Brighton-based art punk trio blew us away when they performed at The Great Escape Festival earlier this year, with the album’s title track proving to be one of many highlights during their set. Fuelled by Annie’s powerful crystalline vocals, Daphne’s phenomenal percussion and Scott’s jagged, mind-melting guitar FX, Nothing Clever, Just Feelings is a cathartic statement that celebrates the act of feeling your emotions without over-analysing them. Annie’s defiance and lyrical directness is as intoxicating as the cacophony of potent noise that swirls around her. This unfiltered self-expression permeates the whole record, underscored by the desire to cut loose and dance away your distractions.(KC)

Divide and Dissolve – Systemic
“If you can imagine something ending, then it can end,” offered Divide and Dissolve‘s saxophonist and guitarist Takiaya Reed during an interview with GIHE back in 2021. Visualising a world without injustice is at the core of what Divide and Dissolve do. Their uniquely heavy sound is designed to erode the foundations of colonialism and liberate the land for indigenous communities. Since the release of their debut album, BASIC, in 2017, Reed and her bandmate percussionist Sylvie Nehill have been honing their unique form of gargantuan-yet-graceful noise in order to help cauterize the wounds of colonialism. Their fourth offering, Systemic, is equally as commanding and as poignant as its predecessors. Released via Invada Records and produced by Ruban Neilson of Unknown Mortal Orchestra, Systemic continues to push Divide and Dissolve’s essential, empowering message into the ether. Fuelled by Reed’s distinctive, doom-ridden saxophone sounds and Nehill’s phenomenal percussion, the nine tracks that make up Systemic seek to undermine the separateness that colonialism enforces, and engage listeners from all walks of life, uniting them in a sometimes blissful, but more often blisteringly heavy cacophonies of resistance. Changing the heavy music landscape one record at a time, the patience and empathy that underscores Divide and Dissolve’s sound inspires a deep sense of awe and respect. (KC)

ĠENN – unum
A dynamic, shape-shifting record inspired by feelings of otherness, Malta-via-Brighton art punks ĠENN have crafted an intricate narrative of multicultural experiences, personal anxieties and a powerful sense of togetherness on their debut album, unum. Released via their own label Liminal Collective, the record is an urgent reflection on the band’s predominantly Maltese roots, how it feels to be an outsider, and how the universal feeling of wanting to belong is more powerful than the overwhelming social, mental and political barriers that try to prevent this from occurring. Co-produced by ĠENN, Gilla Band’s Dan Fox & Tom Hill and mastered by Katie Tavini, unum – which means “oneness, unity, a sense of being whole” in Latin – is a keenly observed statement of self-autonomy and the often exhausting journey that comes with trying achieve to it. It’s a compelling, vital record that re-enforces the powerful bonds of friendship between its creators, and offers listeners a glimpse into a world of experiences they may not always be privy to; all underscored by formidable riffs and a formidable creative spirit. (KC)

Glass Isle – Vels d’Èter
Described as “music of the ether…” London-based Brazilian artist Zuleika AvTes aka Glass Isle’s sound is elusive and intoxicating. Released via Outer Reaches, Glass Isle has created a hypnotic rumination on Vels d’Èter (‘Veils Of Ether’) that becomes more affecting each time it’s listened to. Across 20 tracks, all varying in length, she takes listeners on a journey through mortality and memory, dreams and ritual, solitude and transformation; all via the medium of field recordings captured in London & São Paulo, gossamer-like drone sounds, and her stirring, far-off vocals. Flickering between the shadows of this world and the realms of another, her music casts a graceful gloom over her listeners. Vels d’Èter is not available on streaming services, but it can be bought as a digital download and on limited edition clear C74 Cassette tape via bandcamp. Listen or buy your copy here. (KC)

HAWXX – Earth, Spit, Blood and Bones
Unapologetic and aggressive, Earth, Spit, Blood and Bones is as cathartic as albums come in 2023. It is the heaviest that HAWXX has ever been, capturing all the rage that inevitably weighs down on anyone paying attention to the state of the world. The album is packed with powerful songs that channel the pain of some of the most traumatic news stories to come out of recent history. ‘Death Makes Sisters of Us All’ comes with a music video featuring a few dozen women and non-binary people all singing together in an aching lament at how dangerous the world can be for us. HAWXX is a band that doesn’t shy away from the things that are difficult to talk about and we’re all better off for having them in the world.
(Kirstie Summers – GIHE Contributor)

Hilary Woods – Acts Of Light
On Acts Of Light, her third full-length release via iconic label Sacred Bones, Irish multi-instrumentalist Hilary Woods has crafted nine shadowy fugues that smoulder and flicker across the senses. Written, recorded, mixed and produced by Woods over the two years she spent between the west coast of Ireland and Dublin, the album includes a myriad of idiosyncratic sounds. It features the hypnotic voices of the Palestrina choir together with the Galway City Chamber Choir, strings by Oslo-based musician Jo Berger Myhre and is interspersed with field recordings that Woods collected during her time spent travelling through the northwest of Spain. These elements have culminated into the nine “hypnotic dirges” which form her truly potent and disarming body of work. Whilst it is shrouded in shadow, Acts Of Light it is ultimately a hopeful record; rooted in intense nostalgia and a desire to connect the past with the present. Woods’ talent for communicating these feelings through her instrumentals commands a solemn and sublime respect. I reviewed her record for The Line Of Best Fit. Read the full article here. (KC)

Hinako Omori – stillness, softness…
An uplifting sonic delight that encourages listeners to let go of the past and relinquish feelings of doubt, this record from London-based artist and composer Hinako Omori is a true favourite here at GIHE. Released via Houndstooth Records, stillness, softness…, retains the soothing, enigmatic qualities of her stunning debut record, …a journey, but this time, Omori looks inwards and leans into a more contemporary, song-based structure. She has expanded her use of synths and seraphic vocals to gently dismantle the barriers that have held her back from finding inner peace. She surrenders herself to the unknown and acknowledges the cyclical process of healing, and how this shapes our interactions with the world and the people around us. Urging her listeners to “break free” from their own chains, Omori has delivered another captivating, altruistic piece of music on stillness, softness… that resonates further each time it’s listened to. Hearing her perform it live at London’s ICA earlier this year was a sublime experience. (KC)

Joanna Sternberg – I’ve Got Me
Probably my most listened to album of the year, I’ve Got Me is the second full release from New York based artist and multi-instrumentalist Joanna Sternberg. They masterfully play every single instrument on the record, and solely wrote each and every song, showcasing their ability to create a unique, genre-spanning collection. With an education in Classical and Jazz music, throughout the album Sternberg weaves a rich tapestry of beautifully lilting folk-strewn sounds alongside reflective narrative lyricism; all brought together with their raw, impassioned vocals. A truly exquisite listen. I was lucky enough to see Joanna Sternberg live at King’s Place last month – a beautifully intimate and really special performance. (ML)

Maple Glider – I Get Into Trouble
Australian artist Tori Zietsch – aka Maple Glider – released her second album, I Get Into Trouble, this year and I haven’t been able to get enough of its glistening musicality. Offering a poignant reflection on her Christian upbringing, reflecting on themes of shame, consent and sexuality, it’s a truly stirring collection of starkly honest, yet delicately beautiful, compositions. As the heartfelt crystalline splendour of Zietsch’s vocals ripples with raw emotion throughout, the album showcases her ability to reflect on potentially difficult subject matter with an immersive cathartic grace and shimmering majestic allure. I spoke to her about the album and personal experience of the music industry earlier this year, have a read here. (ML)

ME REX – Giant Elk
Released this year on Big Scary Monsters, Giant Elk from faves ME REX offers a cathartic journey through their trademark exquisite lyrical storytelling and glistening musicality. With a raw, impassioned energy and stirring emotion, the album addresses the violence and loneliness woven into the legacy of masculinity, exuding a poignant heart-string tugging power throughout – particularly with the twinkling splendour of personal album highlight ‘Halley’. Having ME REX headline for us at a sold out Shacklewell Arms this February was also a definite highlight of the year for me. It was a real joy to host them, and witness them delivering their blissful indie-pop goodness to a sea of adoring fans. (ML)

Problem Patterns – Blouse Club
Since they shared their debut single ‘Big Shouty’ with us back in 2020, Problem Patterns have been lighting up our musical radar with their relatable, riotous anthems. The Belfast-based DIY punks have progressed from making music together as a hobby, to becoming a personal favourite of Riot Grrrl icon Kathleen Hanna and winning a Northern Irish Music prize. These accomplishments are the product of sheer determination, authentic friendship and a shared defiance in the face of adversity. On their debut album Blouse Club, Alanah Smith, Bethany Crooks, Beverley Boal and Ciara King use their collective talents to rage against misogyny, classism and homophobia in both societal and industry spheres. Not defined by traditional band structures, they routinely switch up instruments and mic duties for their songs, which makes for a refreshing take on the subject they’re tackling. This collective instinct, raw emotion and radical resilience permeates each of the twelve tracks on their debut full length record. Named after the unofficial speakeasies that were frequented by women in the wake of World War II when they were denied the right to drink in public bars, Blouse Club is the musical manifesto of four friends whose sound refuses to remain underground. Their sold out headline show for us at Sebright Arms in November was a highlight of the year. It sounds cliché to say it, but Problem Patterns really are a band that you have to see live. They need to be appreciated in all of their riotous (and hilarious) glory. It has been a privilege to watch them flourish this year. (KC)

Ratboys – The Window
After more than ten years together, Chicago’s Ratboys released their fourth album in 2023. Another that’s been on repeat for me, The Window is filled with all the dreamy, lilting hooks and fuzzy allure I could ever need, and Julia Steiner’s vocals are just sugar sweet perfection. It was a real treat to finally catch Ratboys live at Omeara last month, along with Norwich faves SUDS. Delivering a set even more dreamy than I could have hoped for, it was captivating and comforting in equal measure; a much-needed ray of sunlight in an increasingly dark time. (ML)

Smoking Gives You Big Tits – Guts For Starters
A live acoustic version of ‘My Favourite Fact About Maggie’ put Smoking Gives You Big Tits on my radar a while ago, and I had been waiting with baited breath for anything more from them. They dropped their debut album in July and it is packed with wall-to-wall punk bangers. Their entire existence is a celebration of everything the DIY punk scene is today – they’re loud and rambunctious and they take uncensored joy in community and creativity. Their songs are upbeat and lively and proud to stand up for what they believe in – inclusivity and hope and making it clear where fascists can shove it. (KS)

EPs

Blonde Maze – I Stay Dancing With You
It wouldn’t be an end of year round up for me without including New York artist Blonde Maze, and thankfully she continues to create the most beautiful and cathartic of offerings. This year, that came in the form of covers EP, I Stay Dancing With You. Featuring her own renditions of the likes of Bruce Springsteen, Rihanna and Modern English, each track still manages to maintain Blonde Maze’s own distinct shimmering energy and unique euphoric splendour. And I remain forever grateful to be able to immerse myself in her truly blissful soundscapes. Having not see her in ‘real life’ since she appeared on our radio show for a second time back in 2017, it was also a real joy to catch up with Blonde Maze at the beginning of the year when she was briefly in the UK! (ML)

CIRCE – Drawing Wings From The Light
Inspired by the collision of her past and present, Drawing Wings From The Light is a passionate, rapturous collection of slickly produced dark pop tracks from London-based artist Circe. On her second EP, she willingly shares personal epiphanies, unfiltered heartbreaks, precious teenage secrets and cell-shaping theatrical experiences with her listeners. She celebrates the lust, frustration and chaos that comes with being a woman who refuses to be scorned, blending pop melodies with poetic lyrics, seraphic vocals and cinematic synths to celebrate the power of these unfiltered feelings. “Take my blood instead of wine” she offers on opening track ‘Riot Of Sunlight’, a disorientating blend of reverb-heavy riffs and dizzying electronics – an invitation that’s impossible to refuse.
Like her mythical Greek namesake – who was described as “a sorceress…able by means of drugs and incantations to change humans into wolves, lions, and swine” – Circe is a captivating force of nature who finds power and comfort in her dark pop fantasies. Drawing Wings From The Light is a total euphoric delight that highlights her potent, impressive songwriting talents. (KC)

Coolgirl – Failed Reboot
Created entirely in her bedroom studio, Dublin-based artist Lizzie Fitzpatrick aka Coolgirl’s debut EP is an ode to the power of our personal relationship with sound. Released via VETA Records, Failed Reboot is a vivid, cinematic collection of synths, intriguing samples and sparse vocals that transports listeners into sonic spheres which seamlessly shift like quicksilver in tone and mood. GIHE fans will recognise Fitzpatrick as the former front person of grunge trio Bitch Falcon, but under her new solo moniker, she experiments with everything from Korg synths to tin whistles and saxophone in order to create her unconventional offerings. On Failed Reboot, she takes listeners on a bittersweet, thrilling journey that traverses waves of deep melancholy, potent nostalgia and unspoken desire. She evokes a potent feeling of transience, infatuation and intrigue that often permeates electronic music, but she retains a fresh unconventional sonic perspective throughout. (KC)

Dream Phone – Dream Phone
Probably my favourite new discovery of 2023, Oxford duo Dream Phone completely won me over when they played live for us supporting ME REX in February. With every single second oozing Jen and Hannah’s sparkling charisma and vibrant energy, it was a completely unique experience, the excitement of which is not lost in their eponymous debut EP. Showcasing their ability to combine quirky voice augmentation with infectious synth-driven glitch-pop soundscapes, Dream Phone harks back to the innovative layering and sampling of Kathleen Hanna’s solo Julie Ruin record; oozing a euphoric riot grrrl inspired drive, whilst maintaining the duo’s trademark playful allure. Covering themes ranging from Buffy The Vampire Slayer to saying no to people pleasing, what’s not to love?! (ML)

Fräulein – Pedastal
Having first come across Joni and Karsten aka Fräulein via an online festival that Hanni from ARXX hosted during 2020’s lockdown, I was instantly utterly obsessed, and it’s been so wonderful to see the duo going from success to success since then. This year, they not only supported legends Big Joanie on their European tour (what a dream combo!), but released their second EP, Pedastal. Building on the gritty power of last year’s debut, it offers just under 15 minutes of fierce, grunge-fuelled splendour. These two just continue to hone their craft of creating utterly unique anthems that ooze an immense power and mysterious allure in equal measure, as well as being one of the most exciting live bands I’ve ever seen, and I’m pretty sure they’re headed for world domination very soon. (ML)

HotWax – A Thousand Times
This was the first of two EPs that the prolific Hastings trio HotWax released in 2023. Together, Tallulah, Lola & Alfie create the type of guitar music that other bands take years to master. Their sound is raw, but self assured, visceral yet melodic. Each time I’ve seen them play, I’ve felt an overwhelming rush of joy, because I know I’m witnessing something truly special. Full of blissfully bruising guitar anthems like ‘Rip It Out’ and ‘Treasure’, their debut EP is crammed with buzzing basslines, commanding beats and raucous guitar riffs, seamlessly flicking between melodic verses and riff-heavy breakdowns. Their chemistry on stage is phenomenal, and their set at The Great Escape Festival earlier this year blew us away. Championed by Courtney Love, Nova Twins and Wolf Alice, HotWax seem destined for great things. Read more about their whirlwind year in my interview with them here. (KC)

The Meffs – Broken Britain Pt. 2
Broken Britain Pt. 2 was released just 3 months after Broken Britain Pt. 1 dropped in December 2022, which is an incredibly quick turnaround for so many frantic punk tracks. Each one solidifies The Meffs as one of the bands on the forefront of the punk scene today. Rapid drums, shrieking guitars and unbridled rage make up The Meffs’ signature sound and it is impossible not to get swept up in their energy. If you’re not angry about the things they’re angry about (war, sexism, the stagnation of the economy) at the start of each song, you most certainly will be by the time they finish. (KS)

Midwife & Vyva Melinkolya – Orbweaving
From the lullaby-esque tones of opener ‘Miss America’, through to the epic twelve minutes of the all-encompassing final eponymous track, Midwife and Vyva Melinkolya’s collaborative EP Orbweaving perfectly pacifies the pain of the past. Written and recorded at Midwife’s studio in New Mexico in the Chihuahuan Desert, the five songs that form the record are a beautiful byproduct of the altruistic environment they were created in. From nights spent “herping” on empty roadsides looking for roadkill and orb-weaver spiders, to meaningful moments shared between them in the studio, Orbweaving smoulders with the residual heat of sun-scorched sands, but it’s laced with the shiver-inducing melancholy of desolate desert nights too. Whilst it may feel bleak and fragile in places, there is a truly bright, human thread that connects Orbweaving. Bathe yourself in Midwife’s trademark “heaven metal” and Vyva Melinkolya’s evocative shoegazey noise, both of which are seamlessly tethered here. (KC)

Slothrust – I Promise
I’m not sure I’ve talked enough about my obsession with Slothrust on GIHE, but – having been a fan for a few years – seeing them live in New York last year just completely took my breath away. So, I was super happy that they released a new EP this year. Consisting of no less than four different renditions of Ginuwine’s ‘Pony’, including an epic extended version (fifteen minutes of pure swirling joy), I Promise also contains two new original tracks, oozing the band’s trademark scuzzy, raw emotion and blissful allure, plus a magical cover of ‘Somewhere Over The Rainbow’. A short but sweet collection, showcasing all there is to love about Slothrust. (ML)

Yanna A – Who Knows What’s In Me, Will You Find Out?
I’ve been a massive fan of Yanna A for as long as I can remember. She has a way with a loop pedal that makes her stand out from most other solo guitarists. She doesn’t perform live very often, but if you ever get a chance to, you’ll be undoubtedly blown away by the sounds she is capable of making on her own. It doesn’t feel possible, even though you’re watching her with your own eyes. In January, she released her five-track EP, Who Knows What’s In Me, Will You Find Out?, which is a perfect introduction to her haunting, ethereal music, combining multi-layered, growling guitar with a chorus of soulful vocals. (KS)

Honourable Mentions

Ailbhe Reddy – Endless Affair
ALT BLK ERA – FREAK SHOW
boygenius – the record
cumgirl8 – phantasea pharm
Charlotte Carpenter – A Modern Rage
Chroma – Ask Angela
Dream Wife – Social Lubrication
Gazelle Twin – Black Dog
Hannah Jadagu – Aperture
Human Interest – Empathy Lives In Outer Space
Jellyskin – In Brine
Lana Del Rabies – STREGA BEATA
Lauren Auder – The Infinite Spine
Maria Uzor – Softcuts
Nyokabi Kariyuki – FEELING BODY
REWS – Meridians
Sandunes – The Ground Beneath Her Feet
shaene – time lost / time regained
Tokky Horror – KAPPACORE
Revered Kristin Michael Hayter – SAVED
ZAND – SEWERSTAR

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WATCH: HAWXX – ‘Hologram’

Anthemic choruses collide with dystopian wonderings in this high-energy latest single by London-based metal quartet HAWXX. 

A perfect musical introduction to their upcoming EP You’re Only As Loud As You Shout Right Now, ‘Hologram’ kicks off with a dose of mystical reverb before crashing into hard-hitting drums and spiralling electric riffs. HAWXX’s high-adrenaline vocals veer between classic metal exhilaration and eerie whispers, as the energy builds and builds to plunge back into perfect breakdowns that dance between hazy riffs and punishing bass. Accompanied by a futuristic video drenched in sci-fi glam, the lyrics speak of the menacing future of social media – the dark side to our late-night scrolling habits in search of likes and dopamine hits.

HAWXX explain: “’Hologram’ is a song about the looming dystopia of social media. We curate and self-edit to create well packaged yet hollow versions of ourselves. The entire meaning of identity has shifted. Our relevance and worth depend on numbers and branding. When we are anxious or lonely, we rely on this digital pacifier, this hit of dopamine that has overpowered our human nature. We are the hologram generation.”

At least we have the delights of HAWXX to drag us firmly back into the real world with this electrifying slice of metal.



Leonie Bellini
@teenpeachmovie

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GIHE: Tracks Of 2020

It feels strange to be celebrating anything in 2020, but the GIHE team want to shine a light on some of the brilliant music that’s been released against the odds during the last 12 months. If you or your band managed to release some music this year – congratulations! You should be super proud. If you didn’t manage to write anything new this year though, we fully understand and we’ll still be here to sing your praises when you feel ready to write again.

Following our album round-up yesterday, today we share our ‘top tracks’ of 2020. As you can tell, we haven’t held back, as there’s just been so much amazing music released this year that we felt deserved a mention. So, read about our forty two favourite songs of the year (told you we weren’t holding back!), and then hit play on our mammoth, and super eclectic, playlist at the end of this post….

HAWXX – ‘Deadlands’
Having previously blown us away with their immense live show, heavy rockers HAWXX this year released their epic four track debut Deadlands. And the immense title track has been on heavy rotation around my ears since first hearing it back in May. With an explosive frenzied energy propelling raging hooks and the seething vocals of front woman Anna Papadimitriou, it’s an utterly compelling whirlwind; a fantastically fierce accompaniment to the chaos of 2020.
(Mari Lane: Co-Founder/Managing Editor) 

Vulpynes – ‘Sister’
Having been majorly disappointed when we had to cancel our April gig at The Finsbury that Dublin duo Vulpynes were set to headline, it came as some consolation that they released a perfectly riotous EP Us Against Them later in the year. Taken from the EP, ‘Sister’ is a powerful ode to ‘pseudo sisterhood’. Propelled by Molly’s raw, impassioned vocals, it oozes an immense sense of urgency amid a seething eerie underlying force. With swirling, reverb-strewn hooks and pounding primal beats, it’s a fantastically fierce, empowered slice of ferocious rock magnificence.
(ML)

Guitar Gabby/The Txlips – ‘The Dead Pool’
With a mission to change the narrative in which the music industry showcases women, Atlanta based Guitar Gabby and The Txlips partner with Girls Rock Camps internationally and nationally to bring classes about home recording, equipment set up, copyright law and more to young girls. Taken from their explosive album Prison Of Life, ‘The Dead Pool’ is filled with scuzzed out riffs as Gabriella Logan’s seething growl soars. Oozing a gritty emotion, it’s a ferocious, empowering anthem; a completely necessary angst-driven offering for these strange times.
(ML)

Problem Patterns – ‘Sell By Date’
Taken from The Fight Is Not Over – a collaborative record with songs from Strange New Places, Gender Chores and Sister Ghost, in addition to Problem Patterns – ‘Sell By Date’ is a perfectly raging anthem rallying against societal gender norms and the pressures and expectations put on women of a certain age to have children (something I relate to HARD). Propelled by an empowering seething energy, it’s a frenzied fist-clencher that leaves me longing to witness it in all its live glory. The Fight Is Not Over addresses the need to continue pushing for more inclusive and diverse spaces and was recorded by Rocky O’Reilly to raise money for  The 343, an Artist-Focused, Feminist-led, Queer Arts Space in East Belfast. Read our interview with the four bands and find out more about the project here.
(ML)

New Pagans – ‘Yellow Room’
I love it when my feminist literature and new music worlds collide! Inspired by the semi-autobiographical short-story The Yellow Wallpaper by American author Charlotte Perkins Gilman, Belfast-based New Pagans’ penned ‘Yellow Room’ to highlight the need for a specialised parent-and-baby mental health unit in Northern Ireland. Through the medium of Gilmans’ text, the band explore the isolation faced by new mothers, with Lyndsey McDougall’s urgent vocals leading the way. I loved listening to the band’s EP Glacial Erratic earlier this year too and I can’t wait to hear more from them in 2021.
(Kate Crudgington: Co-Founder/Features Editor)

LIINES – ‘Sorry’
Having received acclaim from the likes of Sleaford Mods, John Kennedy and BBC 6Music’s Steve Lamacq, as well as blowing us away headlining for us at The Finsbury, Manchester trio LIINES consistently impress with their distinctive, raw post-punk. Oozing the band’s trademark dark, brooding power, ‘Sorry’ builds with deep, intense bass lines, the gritty, commanding growl of vocalist Zoe McVeigh and Leila O’Sullivan’s consistent pummelling beats. Propelled by a thrashing sense of urgency, it’ll captivate the ears with its punk-fuelled bewitching allure.
‘Sorry’ is out now (with B side ‘On and On’) via Reckless Yes.
(ML)

Tiger Mimic – ‘Where The Fire Used To Be’
Disappointed that we had to cancel what would have been their debut gig for us in April, we were glad to hear Tiger Mimic’s new releases this year. Propelled by a driving energy, ‘Where The Fire Used To Be’ blasts out racing riffs alongside the soaring splendour of front woman Jess’ striking vocals. Building to an immense climax, it offers a sense of hope in these seemingly hopeless times, reassuring us that “the whole world will start over in the spring”.
(ML)

Bitch Hunt – ‘Spaceman’
Since forming at First Timers Fest, London based all queer/non-binary band Bitch Hunt have been going from strength to strength; last October impressing us at GIHE us with their immense live set at The Finsbury. Taken from a split cassette that they released with fellow faves adults earlier this year, ‘Spaceman’ is an observational and relatable slice of punk-pop. With Bitch Hunt’s trademark impassioned energy and swirling harmonies, it’s a spot-on reflection on the sickening arrogance of all those cis male ‘splainers and ‘spreaders we so often have to endure in our day to day lives.
(ML)

Porridge Radio – ‘7 Seconds’
In a year where so much went wrong, watching the unstoppable rise of Porridge Radio felt so right. With ‘7 Seconds’ the band moved away from the guitar-heavy sound of their Mercury-nominated album, Every Bad, towards alternative ’80s synths. The result is reassuringly nostalgic, like it’s jumped from the soundtrack of a badass John Hughes film; melancholic, but still upbeat and unbelievably catchy.I’m in love with front-person and songwriter Dana Margolin’s voice. Bold and strong, but vulnerable too, they sing of wasting, waiting and rising above it all. Against the backdrop of a rather tedious few months, ‘7 Seconds’ feels hopeful and exciting. When it comes on the radio, as it frequently has, I feel a little jolt of electricity run through my veins. And it’s a jolt that’s wired straight to my heart, mind… and my feet. The song – and the band – are something very special, and I can’t wait to see what they do next.
(Vic Conway: Contributor)

CMAT – ‘I Wanna Be a Cowboy, Baby!’
“Always the cowboy, never the cow / I hate the way my life turned out” might just be the lyric of 2020, provided by Irish pop sensation CMAT. “[The song is] based around a VINE that was really popular from a couple of years ago of a load of guys drinking cans outside in a playground saying “I wanna be a cowboy baby!,” CMAT explained when we spoke to her about the single in September. The popstar has a talent for taking obscure scenarios and molding them into intensely relatable, catchy pop tunes and ‘I Wanna Be a Cowboy, Baby!’ is a charming slice of  Americana-tinged pop that laments the struggles of urban isolation.
(KC)

Kynsy – ‘Cold Blue Light’
Based on her own experience of being at a New Years Eve party watching a man spout racist remarks, Dublin-based multi-instrumentalist Kynsy’s single ‘Cold Blue Light’ is a dark synth-pop gem that oozes with defiant attitude. I love her genre-blending sounds and I’m excited to hear more from her in 2021.
(KC)

Jessica Winter – ‘Sad Music’
This is the title track from Queen of sad bangers Jessica Winter’s debut EP, and it’s an electro-pop gem. Inspired by the need to relieve heartbreak through the medium of music, Winter effortlessly blends elements of electronica, pop, R&B and industrial music to create her intensely dance-able sounds. I pranced around my bedroom miming to ‘Sad Music’ for most of Lockdown 1.0.
(KC)

Husk – ‘Heal With Time’
One of our favourite discoveries of 2020, Manchester-based trans non-binary artist HUSK creates uptempo pop gems. Released in the summer, ‘Heal With Time’ oozes a celebratory sound juxtaposed with a poignant, reflective lyricism. Propelled by ’80s-inspired glistening hooks and synth-soaked uplifting summer vibes, it’s a vibrant, danceable anthem, shimmering with a sparkling empowering energy.
(ML)

Kadija Kamara – ‘Best Moves’
Even in uncertain times, London-based songwriter Kadija Kamara remains focused on her ‘Best Moves’. On this single, she calmly reminds listeners to own their “magic” and recognise the value of their own work, reassuring them with her warm beats, grooving bass lines and smooth vocals. With a sound best described as “alt-soul” which combines her love of ’60s and ’70s analogue sounds, Kadija’s passion for nostalgia permeates her musical output.
(KC)

Evil House Party – ‘Wicked’
An intoxicating blend of hazy vocals and sultry synths, Evil House Party’s debut single smoulders with the intensity of a hot summer night fuelled by Bonnie & Clyde-esque musings. ‘Wicked’ is a “bittersweet revenge pop anthem” that seduces listeners with its yearning vocals and heady beats.
(KC)

CIRCE – ‘Ten Girls’
London based dark-pop artist Circe is inspired by the films of David Lynch, the brutality of Margaret Atwood’s fiction, the soundtrack to Stranger Things and Baz Lurhmann’s Romeo & Juliet. This single ‘Ten Girls’  takes its title from a quote from The Handmaid’s Tale. Of the track, Circe explains: “[Atwood’s novel] is a poetic but disturbing view of women living in a dystopian oppressive world. This chimes with my own fractured generation of cancel culture, swipes of sex, and revenge porn.” I’m obsessed with Circe’s debut EP She’s Made Of Saints, which is full of sweeping, cinematic gems.
(KC)

Notelle – ‘Bugs’
I love the industrial-tinged production and wispy vocals on Nashville-based “nightmare-pop” artist Notelle’s single ‘Bugs’. She wrote this song after a break-up when she felt like part of her ex was still invading her body and it’s an intoxicating, feverish effort to rid herself of this unwanted sensation.|
(KC)

Noga Erez – ‘You So Done’
A resilient, emotionally charged offering from an uncompromising artist, Noga Erez’s single ‘You So Done’ delves deep into the memories left behind by a toxic relationship. Far removed from the joviality of her lockdown inspired single ‘NO News On TV’, Erez channelled her fears, frustrations and un-nerving flashbacks into this track, which radiates with artistic confidence. Accompanied by a stunning set of visuals directed by Indy Hait, also featuring her musical partner Ori Rousso, the Tel Aviv-based artist continues to blow us away with her mesmerising musical accomplishments.
(KC)

Eilis Frawley – ‘Stats’
Taken from her incredible EP Adult Life, Eilis Frawley’s ‘Stats’ is one of the most stunning and necessary listens of 2020. Offering a completely unique soundscape from the classically trained percussionist, it combines arresting drum-beats with Krautrock-infused spoken word, as the lyrics see Frawley recite hard-hitting stats, highlighting the everyday injustices facing women today. Tackling issues such as period poverty, FGM, domestic violence and other vital issues, it’s a beautifully striking and necessary listen. A poignant protest song that you can dance to. Adult Life is out now via Reckless Yes.  
(ML)

Princess Nokia – ‘Sugar Honey Iced Tea (S.H.I.T)’
Openly queer rapper and all round inspiration, Destiny Nicole Frasqueri – aka Princess Nokia – writes powerful, feminist anthems promoting self love and raging against the patriarchy. Fusing together infectious beats and a powerful, angst-driven energy, along with her trademark tongue-in-cheek wit, with ‘S.H.I.T’ Princess Nokia once again offers an empowering and playful presence in these times when pushing for change is so important.
(ML)

Æ Mak feat. Seba Safe – ‘i dance in the kitchen’
Joyfully schooling listeners how to make uplifting kitsch-pop tunes under the strangest of circumstances, Irish artist Æ MAK’s single ‘i dance in the kitchen’ was made with “100% childsplay and solo belly laughs.” Featuring the vocals of fellow Irish artist Seba Safe, the track is lifted from her EP how to: make a kitsch pop song to show the world, which she produced from home during Lockdown 1.0. I loved bopping around my bedroom to this record and of course, dancing in the kitchen to it too.
(KC)

Lido Pimienta – ‘Eso Que Tu Haces’
No-one else makes electronic music sound as warm and meaningful as Colombian-born, Toronto-based artist Lido Pimienta does. This track ‘Eso Que Tu Haces’ (translated roughly as ‘That Thing You Do’) is one of many triumphant singles lifted from Pimienta’s Grammy-nominated album Miss Colombia, which is a vivid celebration and criticism of her Colombian heritage. I have spent many an hour marvelling at the artwork on this record and singing along to my baby pink vinyl, despite knowing only three words in Spanish.
(KC)

Eckoes – ‘The Light’
Having dazzled us playing live at The Finsbury a few years back, London-based Eckoes consistently creates beautiful, soothing soundscapes. Filled with strobing synths and shimmering guitars, ‘The Light’ showcases the truly spellbinding power of Eckoes’ soaring vocals, as it lulls the listener into a cathartic sense of hypnosis with its alluring grace. A truly captivating offering from an artist on the rise.
(ML) 

Serena Isioma – ‘King’
Chicago-based musician Serena Isioma’s single ‘King’ is full of seductive beats and brooding bass lines. It’s a shimmering reflection on the problematic friendships 20-year old Isioma has found themselves in. “’King’ is about remembering your worth,” the songwriter explains. Isioma’s latest EP The Leo Sun Sets is every bit as poignant and dreamy as this single.
(KC)

Despicable Zee – ‘We Won’t Stop’ (Tiiva Remix)
A captivating, left-field electronic exploration of dual heritage, motherhood and self-autonomy, Oxford-based drummer and producer Despicable Zee (aka Zahra Haji Fath Ali Tehrani) released her third EP Atigheh in 2019. This year, with the help of an eclectic mix of collaborators, Zee shared a remix of the recording titled Atigheh Reimagined, which opened with this track by Tiiva. Keeping the hypnotic qualities of the original, Tiiva’s treatment of  ‘We Won’t Stop’ fuses smooth, breathy vocals together with dense yet ambient beats. I can’t recommend listening to this EP enough, it also features collaborations with Tiece, Planningtorock and Young Knives.
(KC)

MJ Guider – ‘FM Secure’
Lifted from her album Sour Cherry Bell, MJ Guider’s shadowy single ‘FM Secure’ is permeated by murky industrial sounds and atmospheric, beguiling vocals. Based in New Orleans, MJ Guider (aka Melissa Guion) blends elements of shoegaze, gothic pop and industrial sounds to create her hypnotic music. On Sour Cherry Bell, Guider explored power dynamics and the notion of “lost and found” and these musings extended to ‘FM Secure’, its ominous glow intensifying with each listen.
(KC)

Two Tribes – ‘Cruel Sensuality’
Full of commanding beats, jagged synths and soaring vocals, Two Tribes‘ single ‘Cruel Sensuality’ is a cathartic oscillation between emotional resilience and the unexpected apathy that comes with the ending of a relationship. Taken from their upcoming EP, which is set for release in 2021, the London-based trio blend vivid electronic textures with jolting rhythms to create an anthemic new sound. This is a grade A BANGER.
(KC)

Kelly Lee Owens – ‘L.I.N.E’
I could have picked any track from Kelly Lee Owens’ second album, Inner Song, having listened to it on repeat so often that it’s become like listening to one continuous ambient epic.  ‘L.I.N.E.’ stands out, as the most deeply emotional song on the album, and because it gives some exposure to Owens’ vocals, also a central feature of  ‘Luminous Spaces’, her collaboration with Jon Hopkins, and one of my favourites from last year .  It’s also a reflection of how much more electronic music I’ve listened to lately (other notable acts from the last 18 months have included Peggy Gou, Bicep, and HAAi).  It could be that I’ve missed the old days of being out and about, at venues packed with bodies, light and sound – but I also think there’s something valuable in the (often) unspoken emotion of electronic music at a time when connections between us all have been strained.  Given the domestic nature of much of recent times, and paraphrasing a Jarvis Cocker single from 2020, I’ve been listening to House Music all year long.
(John McGovern: Contributor)

Grawl!x – ‘Epicene’
Having headlined the last gig we held at The Finsbury before the world changed forever, Grawl!x creates euphoric cinematic soundscapes filled with twinkling electronic hooks and spellbinding harmonies. Characterised by Maria’s distinctive impassioned vocals and a poignant stirring emotion, each offering from the Derby-based artist is utterly captivating.
‘Epicene’ is taken from Grawl!x’s album Peeps, out now via Reckless Yes.
(ML)

Penelope Trappes – ‘Eel Drip’
A goose bump inducing electronic soundscape, ‘Eel Drip’ is the title track from London-based, Australian-born artist Penelope Trappes’ most recent EP. It’s a dark, delicate rumination on accepting the inevitability that our lives will all be touched by death at some point. Through her arpeggiated electronics and beguiling vocals, Trappes extrapolates on these themes and invites her listeners to experience the comfort and the catharsis that comes with this acceptance.
(KC)

Mentrix – ‘Walk’
Born in Iran but now based in Berlin, Mentrix (aka Samar Rad) blends her experiences of eastern and western culture along with traditional Sufi instrumentation to create her beguiling, bold soundscapes. ‘Walk’ is full of captivating vocals, atmospheric electronics and commanding percussion. It’s taken from her debut album, My Enemy, My Love, which is a powerful exploration of female resilience, independence and what happens when women are caught between two cultures, each filled with their own flaws and freedoms. It’s a stunning record and this track is a definite highlight.
(KC)

Blonde Maze – ‘Not All Flowers Bloom’
Having been a huge fan of New York artist and previous guest on our radio show Blonde Maze for a long while now, it was wonderful to hear her new releases this year. Reflecting on the realisation that even though something is beautiful, it may not last forever, ‘Not All Flowers Bloom’ is a truly euphoric slice of electro-pop. A perfect example of Blonde Maze’s knack for creating exquisite soundscapes. I could listen to everything she creates on a loop forever; it’s just so completely calming and blissfully cathartic.
(ML)

CATBEAR – ‘Girl Crush’
A dreamy electro-pop rumination about wanting a friendship to develop into something more romantic, London-based queer duo CATBEAR’s single ‘Girl Crush’ was written during Lockdown 1.0. Recorded and produced in Zoe  Konez’s home studio in Brixton, the single is a completely DIY affair, with Sarah Smith laying down her vocals in her spare room wardrobe. The pair playfully ponder the “could-have-beens and what ifs” when it comes to thinking about that certain someone. Their charming pop creations were a welcome distraction for those caught up in a crush during unusual times.
(KC)

Ellis – ‘Fall Apart’
Released in early January, Canada’s alt-indie angel Ellis released this swirling single. Dawning at a time of blissful ignorance during a quiet moment before the storm to come, Ellis couldn’t have anticipated the level of comfort ‘Fall Apart’ would bring to her listeners in 2020. With dreamy, personal moments illustrated so softly, Ellis’ peaceful scenes of whispers under sheets served as a euphoric escape that also acknowledged hardship through self-awareness. Both humility and hesitation are felt through Ellis’ symbolism of what it means to accidentally fall apart. Her delicate depictions and flustered lyrics are realities felt by so many. Hushed vocals and warm guitar tones embody the closeness and tenderness that ‘Fall Apart’ illuminates. A nostalgic essence is met with a small amount of weariness that captivates the complexity and fear of being unconditionally seen by another, even on our worst days. In an uncertain time it has served as a utopian narrative of relatability and release. Ellis’ ‘Fall Apart’ is a therapeutic moment that exists in a cloudy sky, gloomy, but kissed by the sun.
(Jill Goyeau: Contributor)

Talking Violet – ‘Indigo’
Canadian band Talking Violet’s first single in two years,  ‘Indigo’ offers an ethereal dreamscape oozing a shimmering haze and immersive shoegaze-tinged hooks. Flowing with the Cocteau Twins-esque vocals of front woman Jill Goyeau, and swooping other-worldly melodies, it’s an utter sonic delight. A truly immersive listen that’ll leave you longing for more. (Jill also happens to be an excellent writer for us at GIHE!)
(ML)

ARXX – ‘Call Me Crazy’
Following the release of last year’s EP Wrong Girl Honey, and 2018’s debut Daughters Of Daughters, total faves ARXX this year returned to our ears with ‘Call Me Crazy’. Whilst it may be a bit of a change in tone for the Brighton duo, it loses none of the emotion-strewn power we’ve come to know and love. Showcasing Hanni and Clara’s more reflective side, it offers a heartfelt offering reflecting on mental health struggles, at a time when this topic is more resonant than ever before. Whilst dealing with an affecting subject, however, ARXX manage to create a truly uplifting and instantly catchy empowering anthem.
(ML)

Emma Kupa – ‘Nawlins’
Already a big fan of her band Mammoth Penguins, I’m no less in love with Emma Kupa’s solo material. Taken from this year’s beautiful album It Will Come Easier, ‘Nawlins’ flows with lilting, folk-strewn melodies and Kupa’s distinctive raw vocals. Filled with a heartfelt lyrical storytelling and euphoric uptempo musicality, it builds with glistening hooks to a stirring slice of perfect indie-pop. It Will Come Easier is out now via Fika Recordings.
(ML)

Captain Handsome – ‘Halloween’
Taken from Captain Handsome’s debut EP I Am Not An Animal, ‘Halloween’ flows with silky-smooth vocals and a twinkling, stripped-back musicality. With its delicate lo-fi scuzz and tongue-in-cheek relatable lyricism (“It was halloween, I was 24, I had a bad time on the bathroom floor”), it’s a sensitive, yet not sentimental, effervescent offering. Captain Handsome is the solo project of Lily from Fightmilk, and her EP I Am Not An Animal was released in January via Reckless Yes.
(ML)

Finish Flag – ‘Garden’
Having first fallen in love with Finish Flag when they played for us live at The Finsbury last summer, this year their album Swimming Pools has provided a lot of comfort. Taken from the album, ‘Garden’ flows with twinkling hooks and luscious harmonies, creating a dreamy slice of lo-fi indie-pop. Another band who I’ve sought soothing catharsis in throughout 2020, I bought Finish Flag’s beautiful pink vinyl on bandcamp day a couple of months ago, and I recommend you do the same.
(ML)

Gold Baby – ‘Versaille’
Having been following Gold Baby for some time now, last year front woman Siân Alex joined forces with Sara Kleppe and Scott Hislop to form the band as we know them today. And it’s been wonderful to see them go from strength to strength. Recent single ‘Versailles’ showcases all there is to love about them. With shimmering guitars and swooning melodies flowing alongside Siân’s luscious, crystalline vocals, it oozes a stirring heartfelt emotion. A beautifully rich slice of melancholy dream-pop.
(ML)

LibraLibra – Listerine
Brighton-based LibraLibra have been firm favourites of GIHE for a couple of years, never ceasing to impress. And this year they released their phenomenal debut EP Hail Mary. Taken from the EP, ‘Listerine’ is a step away from the usual high energy riotous cacophonies of previous releases. Showcasing the incredible soaring splendour and versatility of front woman Beth Cannon’s vocals with an almost operatic force, it builds to a magnificent, immense anthem of self-realisation.
Hail Mary is available on bandcamp now.
(ML)

Beckie Margaret – ‘God’
Essex-based songwriter Beckie Margaret has a flawless voice and a talent for writing beautifully bruising lyrics, something that her single ‘God’ showcases perfectly. I’m not ashamed to say I shed a tear when I first listened to this track, which is a cinematic reflection on unreciprocated love. Margaret releases through Cool Thing Records, who are a collective of people who absolutely love the music they’re making and promoting. It’s always a good day when an email about one of their artists appears at the top of my GIHE inbox.
(KC)

Massive thanks to all the artists and bands creating wonderful tunes this year! Keep an eye out for our Ones To Watch for next year, and listen to our Tracks Of 2020 playlist now:

Get In Her Ears2 Comments

Track Of The Day: HAWXX – ‘Dogma’

Having previously blown us away with their immense live show, mega rockers HAWXX follow their last seething offering ‘Deadlands’ with raging new single ‘Dogma’.

An immense call to action in the face of a culture that is constantly telling us we’re not enough, it races with a riotous energy as the soaring gritty vocals of front person Anna rage against frenzied beats and fierce hooks, creating a blazing cathartic anthem. Of the track, Anna reflects:

“I was thinking how normalised it is for us women to hate ourselves, to always wish we were different somehow. We are constantly caught between two messages. We are either not enough or we are too much. It’s revolutionary to say ‘I’m content with myself exactly as I am’.”

Featuring footage from the Chilean Las Tesis protests, watch the powerful new video for ‘Dogma’ now:

Mari Lane
@marimindles

Photo Credit: Kriz-p

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