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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PLAYLIST: October 2023

The Get In Her Ears team have put together another eclectic mix of indie & alternative tunes, grunge and shoegaze anthems, post punk and Riot Grrrl bangers, alt-pop and experimental electronic sounds for your listening pleasure. Take some time to scroll through our track choices below, and make sure you press play on the playlist at the end of this post.

Follow GIHE on Spotify to hear all of our previous playlists too.

 

deep tan – ‘xenomorph queen’
Having been a big fan of deep tan for a few years now, I’m excited to see that – following last year’s diamond horsetail EP – they’re back with a brand new single, and new line-up, ahead of their live shows supporting QOTSA on tour next month. Reflecting on themes of matriarchy, queer parenting and sapphic love, ‘xenomorph queen’ oozes all the discordant immersive allure that we’ve come to know and love from the trio. Instantly captivating the senses with its mystical ethereal majesty, it showcases deep tan’s ability to create their own truly unique brand of other-worldly angular post-punk. Watch the video for ‘xenomorph queen’ here.
(Mari Lane – Managing Editor)

Fräulein – ‘The Last Drop’
Is it even a GIHE playlist if we don’t include a track by Fräulein? (No, it’s not). Joni & Karston have shared this excellent single via Submarine Cat, which Joni says is inspired by the “manic uncertainty, the confusing, exasperating and self-destructive patterns that you can fall into after the end of a relationship”.
(Kate Crudgington – Features Editor)

Grrrl Gang – ‘Cool Girl’
Indonesian riot grrrl group Grrrl Gang have been a rising force in the Southeast Asian music scene since their formation in 2016, and are now commencing their world takeover with the recent release of their debut album. Having been featured in the likes of NME and Spin, with the album, Grrrl Gang showcase their ability to fuse together their empowering riotous punk energy with a poignant raw honesty and relatable fizzing emotion. Uplifting and cathartic in equal measure. Spunky, the debut album from Grrrl Gang, is out now via Trapped Animal, and via legendary label Kill Rock Stars in the US. (ML)

HotWax – ‘High Tea’
Another anthem from GIHE faves HotWax, taken from their recently released EP, Invite Me, Kindly. Vocalist Tallulah explains: “‘High Tea’ is about two people in your life who are very close to you but don’t mix well, leaving you in the middle feeling torn. It’s a conversation that has gone on for too long, you have to spit out your doubt and let your bad feelings leave you. It’s a song for people to let go and be free.” (KC)

LipGloss – ‘Anna (Walks Along The Street)’
Recorded at Start Together Studios with GIHE fave Rocky O’Reilly, ‘Anna (Walks Along The Street)’ is the new single from Belfast band LipGloss. Oozing a sparkling dark majesty, and building with a scuzzy anthemic splendour, it reflects on the band’s own personal experiences of growing up in Northern Ireland with a raw impassioned energy; reverb strewn riffs colliding perfectly with the immense soaring vocals. I can’t wait to hear more from this lot! (ML)

Dermabrasion – ‘Halberdier’
**NEW FAVOURITE BAND ALERT**
I love this ominous cacophony of industrial-tinged post punk from Toronto-based duo Dermabrasion. Taken from their upcoming debut album, Pain Behaviour, which is set for release on 26th January 2024 via Hand Drawn Dracula, the track is a heavy, brooding gothic anthem that rumbles with discontent. Perfect listening for Halloween (or anytime of the year tbh). (KC)

Slothrust – ‘Pony’
I’m not sure I’ve talked enough about my obsession with Slothrust on GIHE yet, but – having been a fan for a few years – seeing them live in New York last year just completely took my breath away. I was totally captivated by their scuzzy, raw emotion and the utterly immersive, no-frills charisma of front-person Leah Wellbaum. They’ve just released a new EP, I Promise, which includes this fiercely seductive cover of Ginuwine’s ‘Pony’, along with three other versions of the track, my favourite being the extended version: 15 minutes of pure swirling joy. With a couple of wonderful new original tracks too (plus a magical cover of ‘Somewhere Over The Rainbow’), the EP showcases all there is to love about Slothrust. (ML)

Chelsea Wolfe – ‘Whispers In The Echo Chamber’
A potent blend of shadowy industrial sounds and her trademark captivating vocals, Chelsea Wolfe’s latest single is accompanied by the news that she’ll be releasing her seventh album, She Reaches Out To She Reaches Out To She, via Loma Vista on 9th February 2024. ‘Whispers In The Echo Chamber’ is a heavy rumination on trusting your inner voice and following your own intuition. Wolfe is “bathing in the blood of who [she] used to be” – cleansed and cutting as ever. (KC)

Vyva Melinkolya & Midwife – ‘Doomer GF Song’
I’ve made no secret of my admiration for the sounds that Vyva Melinkolya & Midwife make together, and this track is another perfect example of the unique symbiotic musical relationship they share. ‘Doomer GF Song’ – what a title, and what a sound. (KC)

Atka – ‘Eye In The Sky’
Set to release her debut EP next month, London-based, Brandenburg-born artist Atka creates captivating cinematic soundscapes. This first taster of the EP, ‘Eye In The Sky’ shimmers with a dark, haunting energy, reflecting on the social construction of identity. A stirring offering showcasing the beguiling majesty of this innovative artist. The Eye Against The Ashen Sky, the upcoming debut EP from Atka, is out on 3rd November. Catch Atka live in London on 7th November at Studio 9294. (ML)

body / negative – ‘persimmon’
An exquisitely gloomy piece of ambient shoegaze from body / negative, the solo project of multi-instrumentalist Andy Schiaffino. ‘Persimmon’, is taken from their upcoming album, Everett, which is set for release on 8th December. The record is inspired by love, loss and grief, following the death of their Father, featuring contributions from Midwife and Amulets – two of my favourites. I can’t wait to hear it. (KC)

GENN – ‘The Sister Of’
Lifted from their debut album, unum, released via their own label Liminal Collective, this is another dynamic offering from Malta-via-Brighton art punks ĠENN. Their album is a cell-tingling listen, inspired by deep empathy and feelings of otherness. Read more about it and watch the stunning accompanying video for ‘The Sister Of’ on our website here. (KC)

070 – ‘Black Dress’
I am OBSESSED with this track from 070 Shake, which is equal parts moody and euphoric. She’s going to be releasing a new album soon and I cannot wait to hear it. (KC)

Coolgirl – ‘Druid’s Hood’
Another sensational electronic offering from GIHE fave Lizzie Fitzpatrick aka Coolgirl. Inspired by the sounds on vintage video games, ‘Druid’s Hood’ is taken from the Dublin-based artist and producer’s upcoming EP, Failed Reboot, which is set for release on 8th November via VETA Records. (KC)

Echo Juliet – ‘Life On Trains’
This is the latest single from Birmingham-based electronic musician Echo Juliet, taken from her debut 7 track mini-album, Abandon Reality, out now via her new label Invisible IDs. This track – written entirely on a train – is a hypnotic, electronic minimal groove. Speaking about the track, Echo Juliet explains: “I’ve spent a lot of time on the train for work and wanted to capture the feelings that gives me. The groove has a kind of rolling, perpetual forward motion but I was also feeling exhaustion, listlessness and a sense of inevitability that I tried to capture in the melody” Such a vibe! Read Echo Juliet’s Five Favourites feature on our website for more insight into her music. (Tash Walker – Digital Editor)

Janette King – ‘Nah Mek Me Fall’
An end-of summer track drawing On Janette King’s Caribbean roots, incorporating patois into her lyrics layered over those infectious beats, ‘Nah Mek Me Fall’ is perfect for this hazy October sun. A celebration of identity and a testament to the power of music in conveying the tangled journey of love and uncertainty. (TW)

Rubie – ‘Sicily’
This was my track of the show for our October Soho Radio show. It comes from Rubie, who describes herself as a songstress, producer, multi-instrumentalist and unbridled trans voice from south London. I first encountered Rubie as a member of Jenny Moore’s Mystic Business and of course the fantastic F*Choir. But this is Rubie in her solo iteration here, fresh off her new EP release, Whatever Cage – totally mesmerising. Rubie will be opening for Living Body on 2nd November at New Cross Inn, and playing an in-store lunchtime gig at Dash the Henge on 4th Novemeber, which will also go out live on Resonance FM, all ahead of the EP launch party on 30th November at Walthamstow Trades Hall – see you there! (TW)

Caleb Nichols – ‘Demon Twink’
California-based poet and musician Caleb Nichols creates beautifully poignant indie-pop ballads with a lilting heartfelt energy reminiscent of the stirring offerings of Elliott Smith. I was lucky enough to catch Caleb live at The Cavendish Arms this Spring and am very much looking forward to having them play for us at Matchstick Piehouse on 1st December, along with adults and Gay Skeleton Club. Grab a ticket here. Their latest album, Let’s Look Back, is out now via Kill Rock Stars. (ML)

ME REX – ‘Jawbone’
Having just released their debut album, ME REX continue to win my heart with each new offering, and latest single ‘Jawbone’ is no different. I just can’t get enough of the swirling emotion oozing from their stirring lyrical storytelling with their trademark glistening musicality and impassioned energy. Giant Elk, the debut album from ME REX, is out now via Big Scary Monsters. (ML)

Francis of Delirium – ‘First Touch’
Produced by Catherine Marks and released via Dalliance Recordings, this truly dreamy track is all about those initially heady moments of love or lust. Francis of Delirium will be playing a headline show at the Lexington in London on 15th November. (TW)

Coco – ‘Mythological Man’
Formed in 2019, LA trio Coco have just announced the release of their second album. Out first taster of the album is ‘Mythological Man’; a reflection on common ‘masculine’ archetypes, it offers a blissful dose of lilting indie-pop. Rippling with luscious hooks and the honey-sweet vocals of Maia Friedman, it’s a dreamy soundscape, oozing subtle playful wit -visualised perfectly in the accompanying self-directed video. Simply titled 2, the upcoming second album from Coco, is set for release on 1st March 2024 via First City Artists. (ML)

Maple Glider – ‘Don’t Kiss Me’
Australian artist Tori Zietsch aka Maple Glider has just released her brand new album, I Get Into Trouble. 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. Flowing with a glistening musicality as the heartfelt crystalline splendour of Zietsch’s vocals ripples with raw emotion, the album showcases her ability to reflect on potentially difficult subject matter with an immersive cathartic grace and shimmering majestic allure. Read our recent interview with Maple Glider here. (ML)

Sheherazaad – ‘Mashoor’
The debut single from New York based artist Sheherazaad, ‘Mashoor’ reflects on her South Asian sonic lineage; drawing on themes of displacement and nostalgia with a contemporary, genre-defying spirit. Exuding an exquisite rippling allure, Sherherazaad’s sumptuous vocals flow throughout, allowing ‘Mashoor’ to immerse you in its soaring, spellbinding beauty on first listen. Watch the stirring accompanying video for ‘Mashoor’ here. (ML)

Gazelle Twin – ‘Fear Keeps Us Alive’
This Gazelle Twin track, taken from her recently released fourth album Black Dog, spotlights once again what an instinctive, shape-shifting artist she is. Released via one of my favourite labels INVADA Records, this single and her new record are partially inspired by her childhood experiences with the paranormal, which makes for perfect listening this October. (KC)

Hilary Woods – ‘Burial Rites’
Following on from her poignant rumination ‘Where The Bough Has Broken’ – an atmospheric ode to communal growth and memory – Irish artist Hilary Woods has returned with another hypnotic instrumental titled ‘Burial Rites’. Lifted from her upcoming album, Acts Of Light, which is set for release on 3rd November via Sacred Bones, the track is a magnetic, gloomy cogitation inspired by the Gaelic Celtic ritual of Keening; a traditional form of vocal lament when mourning for the dead. (KC)

 

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INTERVIEW: Maple Glider

Following acclaim for her 2021 debut from the likes of Pitchfork, NME and Rolling Stone, Australian artist Tori Zietsch – aka Maple Glider – has just released her brand new album, I Get Into Trouble. 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. Flowing with a glistening musicality as the heartfelt crystalline splendour of Zietsch’s vocals ripples with raw emotion, the album showcases her ability to reflect on potentially difficult subject matter with an immersive cathartic grace and shimmering majestic allure.

We caught up with Tori to discuss the new album, her inspirations, being a woman in the music industry today, and more. Have a read now, and be sure to listen to the exquisite new album asap!

Hi Tori! Welcome to Get In Her Ears! Can you tell us a bit about yourself?   
Hey, I’m Tori. I’m a Gemini but I’m on the cusp. I love camping and bushwalking, and spending time in green spaces. I’m really good at Cambio (card game). I’m really lazy when it comes to putting clean clothes away. I live in a seaside town an hour out of Naarm/Melbourne, Australia and write fiercely personal folk music. My favourite food is pasta and my new album I Get Into Trouble is released today (13th October)! 

Are you able to tell us a bit about how you initially started creating music? 
I learned music as a way to form a community outside of the religion I was raised in and particularly because I loved being able to express myself through songwriting. 

I really love your glistening heartfelt musicality and honest, reflective lyricism, but who would you consider to be your main musical influences?
I’m deeply inspired by many who have paved the way – Dolly Parton, Nina Simone, Joan Baez, Melanie Safka, Beverley Glenn Copeland, Lucinda Williams, Karen Dalton, Joni Mitchell. ‘Tramp’ by Sharon van Etten changed my life. I had a DVD of Cat Power’s Speaking for Trees, and Fiona Apple sheet music that I discovered when I was in high school. All these artists have influenced me musically. 

 You’ve just released your new album, I Get Into Trouble, which is very exciting – congratulations! Are you able to tell us a bit about it? Are there any particular things running throughout it?
Thank you! I reflect a lot on my childhood, growing up in christianity, my family and other intimate relationships, as well as what it feels like re-entering the body after feeling detached from it for a time. A lot of the songs speak to the ending of relationships and also shame in relation to sex and growing up in religion. I’m inspired a lot by being in nature, travelling and spending time alone.

And to what extent would you say your religious upbringing and childhood memories contribute to your songwriting?
They play a very instrumental role in my songwriting, for now. I guess I’ve used songwriting to unpack my entire life so far. These themes are so deeply embedded in both of my albums, I’m curious to see how and if they are explored in my future work. I really just wanna write love songs for a while.

How would you say the album as a whole differs from your 2021 debut, To Enjoy Is The Only Thing? 
I think it goes a bit deeper. It’s probably a bit less nice in some ways, and at times I think it could be more difficult to digest – there are definitely some uneasy themes and hard topics. At the same time, I think this new level of depth has been really important for me personally in the journey of making this album; I’ve felt within myself a release of a lot of tension and pain. They are also themes that are really relatable for a lot of people, which is quite sad, but also in many ways it has been a privilege to be able to see and acknowledge others through this honest and sometimes painful lens, and to feel seen and validated in return. 

Having lived and performed live in both Australia and the UK, how would you compare the music scenes in both these places? 
I guess for me they felt somewhat similar – there’s a lot of great music coming out of both places. It feels like there are a lot more barriers for Australian artists in terms of touring, just because we are geographically so far away, and as a result it feels like a really big deal to tour internationally. When I lived in the UK, so many of my favourite artists were touring, I went to so many amazing shows. There are so many incredible First Nations musicians in Australia that really deserve all of the platforms, opportunities and funding – nothing can compensate for what has been stolen from them. In Australia there is so much work to be done in terms of colonisers taking accountability for the atrocities we have committed and continue to perpetuate, and not that I can speak for any First Nations person, but it’s been made clear that real action needs to be taken, including treaty, land back and justice for all the lives that have been taken. I think only when we listen to First Nations people and actually take action instead of pretending that nothing is wrong will the music industry and everything else have the opportunity to flourish. 

And has there been a particular gig that you’ve planned, in any country, that stands out as a highlight for you over the years? 
I recently played a solo show in Paris that blew my mind. It’s the first time I’ve had to really focus on my singing because there were people in the crowd singing along to the lyrics so loudly that I could have easily confused their voices for my own – haha. It was just so weird to go to the other side of the world and meet people who knew my music so intimately.  

When out on tour, are there any particular essentials that you like to take with you to keep you going when away from home? 
I find an eye mask is good for getting a nice sleep when I’m sleeping in different spaces all the time. In my little backpack I’ll always take a water bottle and a keep cup, a good book and a little diary and pen. Stop Everything is a good podcast to download for the plane, and Pukka Relax tea is a yum blend of marshmallow root, chamomile and fennel that is very soothing for the throat and good to have before a show.

How do you feel the industry is for new artists at the moment? And do you feel much has changed over the last few years in its treatment of female/gender non-conforming and queer artists? 
I think it’s really challenging for new artists at the moment. Everything is very expensive, and I think it can be really difficult to access a music career, even just based on the fact that it takes so much work to even be able to record music, whether that be accessing gear or producers/engineers. I’ve had the privilege of being signed to record labels, so I’ve had access to funds to be able to have the opportunity to create albums, but this is not true for a lot of incredibly talented and hard working artists. I certainly don’t do music full time. I also work two other jobs, and it can be really difficult trying to work out how to take time off to tour and record and make it all fit together. I definitely can’t speak for gender non-conforming and queer artists, but as a white cis-female artist I’ve noticed that there are a lot more spaces for my music now than there were when I was growing up. I remember most line-ups when I was growing up in Australia were all cis male indie-rock bands, and I specifically remember being told by a music manager around that time that they didn’t like female musicians, but for a woman my voice actually wasn’t so annoying. A lot of the time female artists were pitted up against each other by the industry as though they had to be in competition; it was so easy to feel small and devalued. Though there are still some festivals/people in Australia that adhere to these expired standards, there is so much more open conversation about it now. Abusive men in the industry are being exposed. Artists like Georgia Maq, Jaguar Jonze and Jen Cloher have really inspired me with their work in the music industry and how much they have contributed to change. I think the sheer fact that so many gender non-conforming and queer people are still subjected to so much violence and abuse in day to day life indicates that these experiences are also reflected in the music industry. If you are constantly fighting for your right to exist, I can only imagine how difficult it must be to muster the energy to persist in the music industry, one that can be extremely volatile and challenging even without added layers of prejudice and discrimination. And, though there are so many iconic queer and gender non-conforming artists that are rightfully celebrated and have incredible careers, there should be no doubt that these artists still have to work so much harder than cis white hetero artists just to experience the same level of recognition and reward. 

As we’re a new music focused site, are there any other upcoming artists you’re loving right now that you’d recommend we check out?
Oh yes! So many. But here are some artists local to me that I’ve been loving: Winten, Bumpy, Juice Webster, Kee’ahn, Clover Blue, Danika Smith, Phoebe Go.

Finally, what does the rest of 2023 have in store for you? 
I’m about to play some shows with my band around Australia to celebrate my album release, then I’m going to the US to play a couple of shows, and then I’ll be back home to see my mum and brother and baby niece for Christmas. Hopefully I’ll do a bit of writing, get some sun, and go for lots of swims!

Huge thanks to Tori for answering our questions!

https://youtube.com/watch?v=rb5LYpz3Kts%3Fsi%3DorInc0ymyLcx9W1J

I Get Into Trouble, the new album from Maple Glider, is out now via Partisan. Order / listen here.

Photo Credit: Bridgette Winten

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