Five Favourites: LibraLibra

Having just released their epic new EP, CUT, GIHE faves LibraLibra continue to impress with their utterly unique fusion of pop, electro and punk. Recent single, ‘Mother’s Ruin‘, for example, immediately hits you with the colossal, empowering grace of front woman Beth’s vocals as it builds with a swirling anthemic splendour. Reflecting on the process of healing from past traumas, its cathartic, emotion-rich power showcases the strength and determination that women are capable of – as the lyrics poignantly state, “girls who are beasts, we keep running…”

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 CUT, we caught up with LibraLibra to ask about the music that has inspired them the most. So, read about their five favourite ever albums, and check out the immense video for ‘Mother’s Ruin’ below…

BETH:

Erasure – Wonderland 
Erasure introduced me to the world of singing. My parents had a completion CD they played once in the car, and apparently after that, I was hooked. I would starting chanting “Moogies Love Love Dance” as soon as I was strapped into my car seat (‘Who Needs Love Like That’) and they would have to play the CD over and over again the entire car ride; I would be giggling and wiggling and singing along as best as a first time talker could – it had both me and my parents in a chokehold. I think Erasure, combined with New Order, Pet Shop Boys, Tears for Fears and Seal, were particular stand outs – as soon as I could work a CD player I would take these CDS from my parents collection and spend hours creating musical dramatics in my bedroom. Each scene was developed using particular songs from these artists, with a strong theme of triumphing over hate and pain. I would never let anyone watch – it wasn’t something I was creating to show anyone, I was insanely private, but I would spend hours on my own dancing in my room to what I thought were these profound scenes of art! I guess I was a sucker for synth led, extravagant and emotive pop.

Madonna – Ray of Light 
Madonna’s Ray of Light album was a continuation of me hiding away in my room dancing and creating make believe. I begged my parents for this album – I had started to seek out my own music, first it was Enya, All Saints, and then I heard ‘Frozen’ on Top of the Pops, and I knew I needed this album in my life. This album stuck with me for a good few years; it got me through hard times – I was bullied at a lot at school for being overweight and I loved to dance, but it was only something I could do in private. With this album I would spend hours dancing and just losing myself. I must give a lot of credit to William Orbit who produced this album, there is an essence that he added in the production and instrumentation that just tugs at my melancholic heart strings. This album fully charged my obsession with pure pop emotive drama. 

JOE: 

Oneohtrix Point Never – Replica 
I’ve been listening to a lot of dismantled dance music/leftfield electronic stuff while making this record. People like Aphex Twin and Leon Vynehall making constant appearances in my rotation. But OPN was always finding its way to the front of the queue for me. It’s hard to pick just one album but Replica might have topped it. The sound design and world he builds sonically for this album really stuck with me and inspired a lot of the production on our new EP, CUT.

GUY: 

Beach Boys – Pet Sounds 
For me, one of my most inspirational albums has to be Pet Sounds. I know it’s an obvious one, but I can’t really over estimate how much this album opened my eyes to the power of arrangement. I love the harmonies and chord movements, not to mention its impact on pop music in general and everything it inspired. While this record doesn’t immediately seem like it is linked to our music, I think this was the catalyst for me starting to dive more into Brian Wilson and his inspirations which eventually led to studying Bach and other classical composer – something which definitely permeates our latest work. 


ALL 3 OF US :

Radiohead – Kid A Mnesia (compilation) 
Radiohead are a band that have had an immense impact on each of us and these influences have manifested in varying ways on CUT. It’s difficult to hone in on a specific album, as the most influential thing about Radiohead for us collectively is the freedom they have to change and grow their sound. Radiohead are a band that clearly sonically push forward with each release in an attempt to cover (or should I say discover) new ground, as opposed to latching onto a formula that works and recycling it for safety, an ethos we also share. Musically, Radiohead are a band that understand the roots of harmony and they manage to incorporate influences from classical and jazz in a way that we have also started to play with more on this record while also going to the other end of the sonic spectrum, combining these more classical elements with the extremely modern sound of microtonal electronic weirdness found in the works of artists like Aphex Twin and OneohTrix Point Never. While I’m not sure CUT really sounds anything like Radiohead, there is a similarity in the way we try to fuse similar inspirations. The re-release of Kid A & Amnesiac in the guise of KIDAMNESIAC has been on heavy rotation in the writing period for this record and exemplifies a period of their writing where they had their fingers in all of those different genre pies: classical, jazz, rock and electronic – a range of influences which also permeates CUT.

Massive thanks to LibraLibra for sharing their Five Favourites with us!

CUT, the new EP from LibraLibra, is out now. Watch the immense video for ‘Mother’s Ruin’ here:

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EP: Grandmas House – ‘Who Am I’

Formed of Yasmin Berndt (vocals, guitar), Poppy Dodgson (vocals, drums) and Zoë Zinsmeister (bass), Grandmas House combine gritty guitars, thudding percussion and a joyful dose of sarcasm to create their catchy punk inspired anthems. The Bristol-based trio released their self-titled debut EP in October 2021, which covered everything from dismantling the patriarchy, celebrating queer love, to a penchant for local pasties. Now, Grandmas House are back with their second EP, Who Am I, another collection of songs that tackle body image, identity and disassociation and negatively stereotyped zodiac signs.

Born from the desire to overcome the discomfort that facing your own reflection can cause, opener ‘Body’ is a riotous cacophony that sets the scathing, cathartic tone of the record. Full of candid vocals and boisterous riffs, the anthem aims to dismantle the strained relationships we have with our own bodies. When the band simultaneously chant “haven’t seen myself for a second of the day / it feels like everyone is growing / and I just stay the same”, they capture the uneasiness of existing in an insecure skin, whilst putting their own corrosive spin on this feeling to alleviate the pressure.

What follows is a a bi-lingual blast of angst on ‘How Does It Feel?’. Pairing Berndt’s passionate French vocal with Dodgson’s visceral English one, the track is “a call and response between two people about the feelings of confusion you go through when breaking up.” It bleeds into the smouldering ‘Desire’. Inspired by the disorientating power of romantic infatuation, Berndt’s raucous voice rises and falls alongside Dodgson’s backing vocals and blistering beats across the track, whilst Zinsmeister’s rumbling basslines enhance the all-consuming yearning that’s explored in the lyrics.

Closing their record with the title track – described as “an anthem by Gemini’s, for all the other Gemini’s out there” – Grandmas House gleefully defy the negative stereotyping surrounding their zodiac sign with charged riffs and commanding beats. Clocking in at just under 8 minutes in total, Who Am I is a blast of raw, frenzied post-punk energy that showcases the trio’s talent for writing defiant, witty guitar tunes that warrant repeated listens.

Grandmas House play live tonight (23rd March) at The Victoria in Dalston. Tickets here.

Follow Grandmas House on TikTok, bandcamp, Spotify, Instagram, Twitter & Facebook

Photo Credit: Rosie Carne

Kate Crudgington
@KCBobCut

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EP: The Famous Daxx – ‘TFD’

Very few people have the courage to describe themselves as “famous,” but in the case of The Famous Daxx – the postmodern surf grunge project making waves in London’s independent scene – the descriptor is rather prescient. In truth, with the release of her debut EP, TFD, the word “famous” feels more like foreshadowing. Intuitive quality and instrumental prowess are spread all over the four tracks, and there is little doubt Daxx will be nothing short of famous very soon.

Beyond the technically impressive nature of what’s happening within the music, the songs also demonstrate Daxx’s profound understanding of narrative. With inspiration coming from the emotions of lockdown, as well as cult documentaries and fairytales, the release crafts a story that is equal parts relatable and mystical, as old-world sounds are presented through a modern lens.

The first track and the EP’s lead single ‘Treetops‘ starts things out with Daxx on what seems to be a quiet stroll in a pleasant orchard, but with careful listening it’s actually the story of a lost soul sliding through (and almost celebrating) the absurdity of life. But fear not, despite the forlorn nature of this jaunt, her ghosts are there to provide company through Shirelles-esque backing vocals as they coast on the breezy guitar strums and light-touch drums.

As Daxx finishes her stroll, she turns around to face her starting point and finds herself in the distance, or rather ‘On Your Horizon‘, but with the solemn power in this next song, there is no way she can’t be seen or heard. The guitar slides are long and edgy, whilst the changing beats predicate huge changes in emotion and, throughout the song, there is a consistent ascension in sound that releases in the form of an epic jam in the final moments.

After such a display, all that’s left is Daxx. She put herself out there. She made her feelings known. She thinks that she has to ‘Surrender‘, but she’s not done. She still has a fire in her that explodes out of amplifiers and drum heads with the kind of flooring energy that makes you hit rewind on the song and go through the beginning and middle again, just to hear the end.

‘Surrender’ ends with so much force, it wipes the slate clean and leaves nothing but ‘White‘ (perhaps a reference to purity, or even death). Daxx is more than fine with letting you decide for yourself – just lean back and enjoy the haunting and seductive nature of her vocals and guitar.

TFD, the debut EP from The Famous Daxx, is out now.

Harry Levin
@harrylevin

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New Track: Aisha Badru – ‘Lazy River’

Having previously charmed our ears with the exquisite grace of 2021 EP The Way Back Home and her debut album Pendulum, and with acclaim from the likes of The Line Of Best Fit and Afropunk, singer-songwriter Aisha Badru has now announced the release of her upcoming new EP, due out in June.

Our first taster of the EP comes in the form of stirring new single ‘Lazy River‘. Flowing with a lilting energy, the track reflects on the journey of emotional healing and the time that this can take. Rippling with the shimmering grace of Badru’s vocals and a twinkling folk-strewn musicality, ‘Lazy River’ offers a beautifully soothing heartfelt anthem, showcasing the rich majesty of what Badru can create. A blissful interlude of cathartic calm.

Of the track, she explains:

“It’s about the healing process after loss. Emotional healing is a journey. True healing takes time and there should be no shame or urgency in any step of the process.”

‘Lazy River’ is accompanied by a beautiful new video, directed by Laura-Lynn Petrick, choregraphed by Nyda Kwasowsky and featuring dancer Amara Barner. Watch it here:


Learning To Love Again, the new EP from Aisha Badru, is set for release on 2nd June.

Mari Lane
@marimindles

Photo Credit: Jeff Trapani

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