Track Of The Day: Deep Tan – ‘Air’

Having previously supported the likes of Madonnatron and Naima Bock from Goat Girl, London’s Hackney-based three piece Deep Tan have spent the last year honing their sound, and have now shared a captivating new single.

A song about deception, ‘Air’ oozes a brooding sense of melancholy and dark sweeping splendour as poignant vocals are sung in both French and English. Exuding a dark, ethereal aura and twinkling dreamy haze, it’s a truly beguiling slice of atmospheric alt-pop. Of the track, the band explain:

“The song is about islanders who lie about being able to swim, and they’re a metaphor for people who lie generally. They pretend they can swim, but they can’t. It’s meaningless. It’s just… ‘Air’.”

 

‘Air’ is out now. Catch Deep Tan live:

9th March – The Windmill, London
13th April – The Shacklewell Arms, London

Mari Lane
@marimindles

Photo Credit: Alexandra Loveless

 

 

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ALBUM: Big Joanie – ‘Sistahs’

A mix of the personal and political underscored by riotous rhythms and a sistah-hood ethos, DIY punks Big Joanie have released their highly anticipated debut album Sistahs today. Recorded at Hermitage Works Studio with producer Margo Broom and released via Thurston Moore & Eva Prinz’s new label The Daydream Library Series, Sistahs is a strong debut from a band who have been actively working on and off-stage within London’s DIY scene for years.

Together, Steph, Estella & Chardine have been busy running the Decolonise Fest for punks of colour, volunteering at Girls Rock Camp and leading the Stop Rainbow Racism campaign, which works to stop racist performances in LGBTQ venues. Their combined pro-active efforts have resulted in the creation of 11 songs that tackle issues of self-motivation, race, equality, and letting go of unhealthy relationships.

The pensive and highly relatable opening track ‘New Year’ brims with a quiet yearning to kick start something, to stop waiting. It’s followed by ‘Fall Asleep’ with its infectious bass lines and wicked guitar riffs. The introduction of electronics 1:44 minutes in is ultra cool, and was inspired by the likes of Joy Division and New Order (which is why Producer Margo added a wall of synths and drum beats.)

‘Used To Be Friends’ is an anthem everyone can sing with confidence with a sarcastic smile and no real sense of aggro – just the care-free attitude of someone who’s shed the skin of an unhealthy acquaintance. ‘Eyes’ is a cacophony of guitars, percussion and recorder. It’s one of the first songs guitarist Steph wrote aged nineteen, inspired by her disdain for “working a part-time job handing out over-priced artisan bread at Waitrose”.

‘Way Out’ is a wonderful, reverb-soaked, 90s-esque tune, whilst the brief ‘Down Down’ spirals along with its driving percussion for just shy of two minutes, before the surf-pop-style ‘Tell A Lie’ lifts listeners up again. Much like ‘Used To Be Friends’, ‘Token’ laments an unhealthy friendship, although this time it’s about the feeling of ‘tokenism’ experienced by people of colour when middle class white people decide to befriend them as a poor act of liberalism.

‘It’s You’ was born from a bad situation. After the lead singer from Steph’s first band (My Therapist Says Hot Damn) left just three days before their next gig – ‘It’s You’ was one of the many songs she had to write from scratch to play at the show. The penultimate ‘How Could You Love Me’ will have you swaying from side-to-side as it rings out in 60s girl group style, whilst closing track ‘Cut Your Hair’ is a vulnerable but optimistic ode to predicting a relationship is over before you or your partner are willing to admit it.

Despite their breezy, confident nature, the contexts of Big Joanie’s songs on Sistahs are powerful because the relay the struggles of everyday. Whether that’s having your mind turned to mush by a boring job, falling out with yourself, or others around you, they’re three women of colour talking about their life experiences to the backdrop of marching beats and punk-inspired riffs. That’s something the world needs plenty more of in our opinion.

Order your copy of Sistahs here. Follow Big Joanie on Facebook for more updates.

Kate Crudgington
@KCBobCut

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Track Of The Day: Nimmo – ‘Orange Skies’

The fear of being forgotten permeates London-based electronic outfit Nimmo‘s latest track ‘Orange Skies’. Produced by Maya Jane Coles, the single is taken from the band’s upcoming EP Songs From The Credits, which is set to be independently released in November, and is accompanied by a self-directed set of visuals.

Nimmo are comprised of best friends, musicians & vocalists Sarah Nimmo and Reva Gauntlett, and together they create sharply produced, lo-fi electronic sounds. Talking about their latest track ‘Orange Skies’ in a recent interview with The FADER, Sarah explains: “[it’s] a song about the paranoia of dying and not having control over the way you’re remembered.” This theme of uncertainty and a need for some form of control is brought to the forefront on Nimmo’s upcoming EP. The duo are using their independent release to promote their renewed ethos of putting friends, family and their network of London-based queer creative collaborators first.

The accompanying video for ‘Orange Skies’ is set on a concrete football pitch from Sarah and Reva’s childhood, and sees friends and relatives pass through the band’s own funeral. Having spent the year playing European festival shows, Nimmo are now back to releasing music on their own terms. Watch the video for ‘Orange Skies’ below and follow Nimmo on Facebook for more updates.

Kate Crudgington
@KCBobCut

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EP: Bad Sidekick – ‘Bad Sidekick’

Following the release of their previous singles ‘Circus’ and ‘Crook’, London/Bristol trio Bad Sidekick have shared their debut self-titled EP, and it’s a fistful of brooding indie noise.

“Everything I touch / it gets destroyed,” confesses vocalist Cooper Rose with her powerful Bristol intonation on opening track ‘Run Boy’. Guitarist Joe and drummer John create loops of fuzzy, furious sound as Cooper warns of the storm that’s coming. It bleeds into the snarling ‘I Ain’t Sick’ on which she oozes more enviably slick vocals, backed by a cacophony of guitar noise and thumping beats.

Bad Sidekick’s stellar song-writing skills are showcased on the gentler ‘Lost Cause’, which broods with quiet intensity before the drop-in. The spiralling ‘Romeo’ and penultimate track ‘Think About It’ are cut from the same cloth, full of visceral riffs and driving percussion that urge listeners to contemplate Cooper’s invitations.

A glitchy sampled recording opens final track ‘If I Were The Devil’, on which Cooper sings “I don’t wanna be like the others / trapped inside these dead eyes / waiting for the flames to turn me to ashes”. With her superb vocal delivery, there’s no danger of her burning out anytime soon, especially when paired with Joe’s razor sharp riffs and John’s knockout drumming. Together, Bad Sidekick have crafted a collection of infectious, gritty alternative anthems on their debut EP. We recommend you invest immediately.

Listen to Bad Sidekick’s debut EP on Spotify.
Follow Bad Sidekick on Facebook for more updates.

Kate Crudgington
@KCBobCut

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