Track Of The Day: Bitch Falcon – ‘Gaslight’

A striking, brooding observation on what you see vs what you get, Bitch Falcon have shared their latest single ‘Gaslight’. Released today (16th July) via Small Pond Records who the band have recently signed to, the track marks a change in the Dublin trio’s writing style, blending “melodic intricacies” with their trademark heavier sound.

Formed of Lizzie Fitzpatrick (vocals/guitar), Barry O’Sullivan (bass) and Nigel Kenny (drums), Bitch Falcon have been firm favourites of GIHE since they played live for us at The Finsbury Pub with Trash Kit in 2017. Since then, they’ve shared stages with the likes of Girl Band, Fontaines DC, Torche, Black Peaks, and Pussy Riot.

Full of seething bass lines and savage guitar licks, their new single is a stirring reflection on the way we perceive other people’s truths. Fitzpatrick’s powerful vocals permeate ‘Gaslight’, soaring over Kenny’s crashing beats and O’Sullivan’s heavy bass hooks, fusing their grunge-meets-dream-pop sound together.

Speaking about the track, Fitzpatrick explains: “‘Gaslight’ is a song that came together quite fast. Barry started playing his riff and I played along messing rhythmically, just making noise. It sounded so weird and intense so quickly. I remember us all looking at each other and saying this is the one.

I wanted to describe the feeling of what you see is not necessarily what you get. The holy grail of public display, and worth to others. Expressing yourself puts you in a vulnerable position, and I think a lot of people embellish the truth. In that way, an unachievable status is shoved down our throats, and we play into the game every day.”

Listen to ‘Gaslight’ below and follow Bitch Falcon on Spotify and Facebook for more updates.

Kate Crudgington
@KCBobCut

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FIVE FAVOURITES: Song Sung

Formed of twin sisters Georgina and Una McGeough, Song Sung grew up in Ireland, before moving over to New York a decade ago. Since then, the pair have been dabbling in music software, creating their own atmospheric electronics, and are set to release their debut album later this year. The duo recently worked with David Holmes (Unloved), who co-wrote and produced their EP, I Surrender, along with his bandmate Keefus Ciancia. The pair have previously worked on scores with Holmes too, including The Fall and Killing Eve (for which they won a BAFTA).

We think one of the best ways to get to know an artist is by asking what music inspired them to write in the first place. We caught up with Song Sung to ask about their “Five Favourites” – five albums that influenced their song writing techniques. Check out Song Sung’s choices below, and scroll down to watch the video for their single ‘Come To The Water’ at the end of this post.

1. Plaid – Reachy Prints
I was at friends exhibition opening one night in Berlin, and Barry Burns from Mogwai was DJing at the after party. He played a mixture of electronic beats, with some IDM. I remember he played ‘Hawkmoth’ and all of a sudden I could no longer hear the person I was talking to. I proceeded to dance my way over to Barry to ask “who is that?”. The entire album is incredible. We had a chance to see Plaid in December at Elsewhere in Brooklyn, which was fantastic.

2. Casino Versus Japan – Whole Numbers Play the Basics
This album was introduced to us a few years ago. It was on heavy rotation during the writing and recording of our album. The dronescapes and lush melodies are exquisite. It’s one of our favourite records.

3. Jon Hopkins – Immunity
Our album was made between NYC, Berlin and Belfast and in each of those cities, Jon Hopkins walked with us. It’s a miraculous listen. There is so much emotion and space in this album and there is a real feeling of warmth to it.

4. Boards of Canada – The Campfire Headphase
It’s difficult to choose which BoC album to feature, because we listen to them non-stop. I think The Campfire Headphase album was the one that got the most spins during the making of our album. It was an escape from our dream into another dream. Trans Canada Highway is another escape. The albums are quite different, but there is something unique about siblings making music together.

5. Aphex Twin – I Care Because You Do
I feel like this album was always playing somewhere when we were at art school in Belfast, quite possibly ingrained in the walls of every art school on the planet. It’s haunting, meditative and really emotional. The opening track, ‘Acrid Avid Jam Shred’ gently transports you and captures your attention right until the end of the record. It’s mesmerizing, melancholic and masterful from beginning to end. An absolute favourite.

Listen to Song Song’s EP, I Surrender, here. Follow the band on Spotify & Facebook for more updates.

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PREMIERE: Naoise Roo – ‘Sick Girlfriend’

A slow-burning guitar tune that satirizes the representation of women with mental health issues; ‘Sick Girlfriend’ is the latest single from Irish artist Naoise Roo, set for release on 27th March. The track is lifted from her upcoming EP of the same name, due on 24th April.

Produced by Liam Mulvaney (Girl Band, The Radio, Fionn Regan) and featuring Daniel Fox (Girl Band) on bass and Rian Trench (Solar Bears) on drums and synths; Naoise Roo’s new EP is an exploration of women’s experiences in the music industry, and the stereotypes that continue to burden women who struggle with poor mental health.

Speaking about the eponymous track, Naoise explains: “I wanted to write something that showed the objectification that I’ve seen depicted, and in turn, the reality I’ve experienced within relationships having suffered with mental health issues all my life”. Despite these setbacks, Naoise continues to move forward by creating relatable, optimistic indie offerings.

Listen to ‘Sick Girlfriend’ below, and follow Naoise Roo on Facebook & Spotify for more updates.

Kate Crudgington
@KCBobCut

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ALBUM: Hilary Woods – ‘Birthmarks’

Both an aural purge of insecurities and a powerful exploration of self-autonomy, multi-instrumentalist Hilary Woods‘ second album Birthmarks is a cohesive set of shadowy soundscapes that smolder with quiet intensity. Darker and sharper in sound compared to her debut album, Colt, the Irish musician has collaborated with Norwegian experimental noise producer & filmmaker Lasse Marhaug for this latest release on Sacred Bones Records.

Recorded over the course of two years between Galway and Oslo whilst Woods was heavily pregnant, Birthmarks feels like her most personal and powerful record to date. Inspired by field recordings, the images from post-war Japanese & wet-plate photography and the secret life of trees, Woods’ far-reaching influences are what make her art so transcendent.

Opener ‘Tongues Of Wild Boar’ is a foggy, captivating exploration of intense discomfort. From its scratchy dense intro, to its gentle blend of orchestral and electronic elements, it’s an intuitive track that scars and soothes in equal measure. “My body knows I can’t make it out” Woods muses on ‘Orange Tree’, tentatively trying to make peace with her physicality and her surroundings. This need to face her inner fears underscores the record, making it an unsettling, but liberating listen.

The tender ‘Through The Dark, Love’ feels like an intuitive guide through an ambiguous, tumultuous relationship, whilst the sparse instrumentation and the rhythmic humming on ‘Lay Bare’ is deeply comforting. The stretched out saxophone sounds, changing tempo and whispered lyrics on ‘Mud and Stones’ showcase the delicacy with which Woods crafts her songs. They all have a confessional, meditative nature, but her ability to switch from gentle to gritty within a few short seconds never fails to impress.

‘The Mouth’ is one of Birthmarks’ boldest tracks. A fleshy, twisted lullaby about personal hesitation, it’s a somber yet powerful listen, laced with melancholy strings, saxophone and distorted drone noises. The denseness of instrumental ‘Cleansing Ritual’ is unexpectedly soothing too. Its layers of drone noises and distortion cauterize the deepest of wounds. The eerie, persistent tapping of one key alongside Woods’ hushed voice on ‘There Is No Moon’ could feel desolate, but instead it feels restless, as if she is keeping herself awake with the urgency of that repeated note.

Though quiet in terms of volume, Birthmarks is an abrasive, primal, charged offering that allows Woods the space to navigate uncertain emotional territory, highlighting her strength and resilience as an artist. Though fueled by uncertainty, it’s a carefully constructed record that provides space for healing and acceptance.

Pre-order Hilary Woods’ new album Birthmarks here (released 13th March via Sacred Bones)

Follow Hilary Woods on bandcamp, Spotify & Instagram

Photo Credit: Joshua Wright 

Kate Crudgington
@KCBobCut

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