Five Favourites: The Fauns

Following a decade-long hiatus, and having received acclaim from the likes of Steve Lamacq on BBC 6Music over the years, Bristol based shoegaze ensemble The Fauns have now returned to charm our ears, releasing their new album, How Lost, this month.

With original members, Alison Garner, Michael Savage and Guy Rhys Davies, reuniting for the album, How Lost showcases the sweeping ethereal soundscapes that we’ve come to know and love from the band, whilst dipping into newer, electro-driven sounds. Oozing a mystical allure, each track floats into the ears effortlessly as glistening instrumentals provide a backdrop for Garner’s exquisite emotion-rich vocals. I’ve had it on repeat since first hearing it, finding myself truly immersed in its captivating blissful haze.

We think one of the best ways to get to know an artist is by asking what music inspires them. So, to celebrate the release of How Lost, we caught up with Alison from the band to ask about the music that has inspired her the most. Read about her five favourite songs and watch the video for latest single ‘Shake Your Hair‘ below!

Kate Bush – ‘Wow’
Since the days of listening to her on cassette on repeat during family car trips to the caravan when I was little, Kate Bush has been a huge influence on me. It’s hard to chose one track, but ‘Wow’ – with its experimental vibes and Kate’s ever changing vocal style – made my tiny brain say exactly that. Her quirky vocals in this song made me start to experiment with my own. I realised it’s not about hitting the perfect note (try telling my childhood singing teacher that!), it’s about feeling, about expression, about finding your own voice, and about pushing boundaries. Bush’s influence guided me towards a more open-minded vocal style and remains a reminder of the beauty in embracing individuality, and to explore the limitless possibilities available to us when using the voice.

Caterina Valente – ‘The Breeze and I’
This one holds a special place – it was my Grandma’s favourite song, and damn she had good taste! Valente’s voice is nothing short of sublime; from soaring highs to velvety warm lows, it’s downright sexy and captivating. ‘The Breeze and I’ is a soothing yet dramatic lullaby, showcasing Valente’s impeccable vocal technique. Her ability to effortlessly navigate the song’s nuances inspired me to explore the full range of my own voice (if only I could match her prowess!). Every single syllable she weaves carries an emotional weight that’s beyond inspiring. This song stands as a timeless reminder of the enduring power and artistry of a beautiful voice.

Cocteau Twins – ‘Pitch The Baby’
The first time I heard Elizabeth Fraser’s dreamy vocals riding the waves of atmospheric soundscapes it was like stumbling upon a musical secret. The whole Cocteau Twins influence was eye-opening and gently nudged me towards a more ethereal vocal style. This track in particular made me re-think my voice as an instrument. The song is like a musical playground, and urged me to explore, experiment, and break free from conventional vocal norms. It’s still a reminder to get playful with my voice, embrace textures and layers, and craft intricate sonic landscapes that go beyond the expected.

PJ Harvey and Nick Cave – ‘Henry Lee’
Each utterance from the sexy mouths of Harvey and Cave in ‘Henry Lee’ is a punch to my gut, laden with raw, authentic emotion. It’s a storytelling masterpiece and you hang on their every word. The palpable chemistry between these two music gods sculpts a vocal landscape teeming with passion and sexual tension. It’s beguiling and intriguing, and an inspiration for my own performance. For me, this track serves as a reminder that it’s not enough to just sing, that you have to feel… And the incredible potency that passion, intensity, and expression have in crafting a sonic experience that will resonate with the listener.

Aldous Harding – ‘Imagining My Man’
This track is a masterclass in the power of restraint and deep simplicity. The haunting ache in Aldous’s voice, set against a stripped-down arrangement, is downright mesmerising. As a performer she’s unmatched — I’ve never witnessed someone captivate an audience like her. Aldous’ voice celebrates the strength found in subtlety, revealing the authentic beauty of a voice laid bare. Although my musical style in The Fauns is more often enveloped within a wall of sound, her influence echoes in my latest album, serving as a reminder that impactful moments in music often arise from the simple, genuine, well-delivered expression of a powerful lyric.

Massive thanks to Alison for sharing her Five Favourites with us! Watch the video for latest single ‘Shake Your Hair’ here:

How Lost, the new album from The Fauns, is out now via Invada.

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New Track: Moor Mother – ‘Guilty’

Following critical acclaim for her 2021 album Black Encyclopedia Of The Air, innovative artist Camae Ayewa – aka Moor Mother – has now announced the release of her 9th studio album, The Great Bailout.

Our first taste of the album comes in the form of new single ‘Guilty‘, a collaboration with Lonnie Holley, Mary Lattimore and Raia Was. Oozing a mystical energy, it encapsulates the sentiment of the album – a poignant and necessary message, bringing to our attention crimes committed by our ‘fair isle’. With a glistening splendour, layers of chiming instrumentation swirl together with vocals, intertwining to create a truly stirring anthem. As its whirring musicality provides a backdrop to lists of ‘great’ Britain’s injustices against humanity and the harsh realities of colonialism, the juxtaposition of the horror of ‘Guilty’s message with the beauty of its musicality is stark. At over ten minutes long, I urge you to immerse yourself in this hauntingly beautiful offering; one that we need to pay heed to, now more than ever. An urgent message encased in an evocative sonic grace.

Of the track, Ayewa explains:

“Displacement and its effects are not discussed enough… The PTSD of displacement should be a focus, and as we have the opportunity to learn about things happening in the world, we also have the opportunity to learn about ourselves. We’ve been through so many different acts of systematic violence.“

Watch the affecting lyric video now:


The Great Bailout, the ninth album from Moor Mother, is set for release on 8th March via ANTI-. Pre-order here. Catch Moor Mother live in London or Bristol in March, info and tickets here.


Mari Lane
@marimindles

Photo Credit: Ebru Yildiz

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WATCH: The Baby Seals – ‘Mild Misogynist’

‘Mild Misogynist‘ from long-term GIHE faves, Cambridge band The Baby Seals, is a song for every woman who has ever smiled and nodded silently while a mediocre man prattled on about how lucky everyone around him really is to have him in their life, secretly knowing he’s a few pints away from calling his ex crazy.

It is a high energy track with roaring guitars and throbbing drums that releases years of pent up frustration from the very opening bars. There is no attempt to soften the message, creating a cathartic energy that is difficult not to get caught up in.

‘Mild Misogynist’ is a painfully relatable song. It calls out the kind of person that might not be the most abhorrent of bigots, but nonetheless can be a hugely damaging presence in the lives of those around them with their casual approach to misogyny. The only way you don’t listen to this song and immediately think of someone who fits the description perfectly is if you are in fact that person that everyone around you finds terribly exhausting. It calls out nice guys and performative allies, the kind of person who doesn’t do anything that actually helps oppressed people, but makes a big deal out of having a friend with a minority background and is overtly, annoyingly proud of not doing hate crimes while still casually spewing micro-aggressions.

The track has a raw, unfiltered sound that comes right from the gut. There is no filter constricting this outpouring of feeling. It’s an eye-rolling purge of exasperation that comes from finally allowing yourself to speak freely. The upbeat rhythm and fun melodies stand in excellently stark contrast to the irritating subject matter. The song ramps up to its climactic ending, taking immense joy in feeling every emotion. The lines “The girls really like / The way I try / To kiss” are repeated with an increasing sarcasm that is delightful to hear, and revels in the simple yet rare pleasure of fully expressing every moment of built up frustration.

Watch the accompanying new video to ‘Mild Misogynist‘ here:


‘Mild Misogynist’ is our first taster of The Baby Seals’ upcoming debut album, Chaos – set for release this Spring via Trapped Animal. And we cannot wait to hear more of their sassy wit and empowering energy! Find out more about The Baby Seals and their upcoming live shows here.

Kirstie Summers
@ActuallyKurt

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ALBUM: ¡Ay Carmela! – ‘Tokens’

Tokens, the long-awaited second album by Bristol-based indie rock trio ¡Ay Carmela!, brims with sass and sincerity. At heart, this is a melancholic record, exploring themes of grief and disappointment, but it never feels like ¡Ay Carmela! want your pity. Front-person Carmela’s understated, downbeat vocal is supercharged by a banging rhythm section, giving the whole album a powerful swagger. 

The band wears their ’90s alt influences on their sleeves, and fans of Belly and Warpaint will find a lot to love on too. Opener ‘Host’ gets the album off to a memorable start with heavy guitars and punchy, powerful vocals that lure the listener in, before it builds to a proper pop chorus with swooning harmonies.

Recent single ‘Magnolia Walls’ is real standout. Carmela’s evocative, relatable lyrics reflect on ageing, the threat of unfulfilled potential and craving stability. “It used to be fun, living in a dump…”, she sings, “I thought I’d have moved on, instead I’ve just moved around.” ‘Rear View’ is another high point; it’s quieter and more intimate than some of the other songs on the album, bringing in keys rather than guitars, so we can really focus on Carmela’s vocal and lyrics. A torch song, tinged with nostalgia, it’s a beautiful portrait of loss and longing. 

It’s been seven years since the band’s debut album and it’s been worth the wait. With a new line-up and a different home city, the band seem re-charged and reinvigorated. And that’s a great thing, because songs as beautifully written and crafted as these need to be heard.

The band has been playing shows throughout 2023, and we’re super excited to have them playing for us at our next gig at Shacklewell Arms on 2nd February next year, supporting German dream-poppers Roller Derby with faves Panic Pocket. Nab tickets on Dice now!

Tokens is out now. Download / buy the album on Bandcamp now.

Photo Credit: Elise Wootten

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