LISTEN: Alice Mary – ‘Too Much’

Alice Mary is an indie-pop musician living in East London who makes music combining a mixture of electronics, guitar, and introspective lyrics. Following 2017’s I Am Here EP and charming us live at The Amersham Arms a few years back, she has now shared new single ‘Too Much’. A tight pop production with Prince-inspired synths and guitars, it fuses together pulsing samples and angular vocal melodies. With additional production and drums from Alex Walker and a pumping bass line from George Kerridge, it’s upbeat, playful music with a darker subtext.
 
Infectious and full of energy, it begins with the excitement of a new relationship, which we hear in the ’80s–style sampling and the funky guitar sound (reminiscent of a Prince classic), yet the vulnerability starts to come through in the second verse (“I’m an island of unrest…”). The contrast in the chorus between “too much of a good thing” and “you’ll never be enough” perfectly sums up the song’s themes of sex and anxiety. Like all good pop songs, it is relatable, capturing the nerves and expectations of being intimate with someone new, all in a succinct rush.

We’re off to a good start with this song, the first of four singles to be released this year from Alice. We can’t wait to hear more of her heartfelt, shimmering sounds.

‘Too Much’ is out now. Keep your eyes peeled for a brand new live video, set for release on 24th May.

Fi Ni Aicead
@gotnomoniker

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EP: Joely Smith – ‘that’s when gd neighbours become gd friends’

thats when gd neighbours become gd friends, the wonderfully titled EP of demos from Joely Smith (usually found playing with London-based indie/pop-punk band adults) seems to have arrived almost by accident. For Smith, the process of recording these demos allowed her to let go of a group of songs which she didn’t feel necessarily fit with the sound of her band and declare them “finished”. For us listeners, Smith’s need to record is a gift – this EP is beautiful.

This might not be a universal experience, but there’s something deeply nostalgic about listening to demos – at least there is for anyone who spent their teenage years trawling through social media/pre-social media fan boards/whatever came before that (tapes passed round the playground?! Delete according to generation) for any sign of ‘lost’ recordings from their favourite bands; scratchy demos of songs which existed in far more polished and famous versions elsewhere. The act of listening to something half-formed, a glimpse into the process of writing your favourite songs, has a magical quality all of its own. That’s not to say that any of the songs in this EP sound unfinished or half-formed – quite the opposite is true – but that the aural aesthetic of demos carries an inherent warmth and charm. When that aesthetic is married to the down-played charisma of song-writing like Smith’s, the end results are rather magnetic.

Though the music here differs distinctly from adults, the same sense of humour and warmth runs through both projects. The EP opens with ‘Womankind’, a lofi hug of a tune. A fuzzy guitar and voice are joined, after the introduction, by bass, drums and a second guitar line (all played by Smith) and the whole thing comes together in a manner reminiscent of Graham Coxon’s solo work – a punk sound distilled through a warm and unassuming persona; the edges taken off, aggression stripped out, but the heart remaining very much in place.

Smith has explained the EP as consisting of songs which “didn’t fit within the adults sound“, and the evidence of that is in the eclecticism on show here. ‘Notice’ is filled out with a lengthy synth-led instrumental passage in the middle (which is not nearly as ‘prog’ as that description makes it sound), and there’s shades of ‘80s alternative bands like Beat Happening to songs like ‘Pale’ and ‘Light’. There’s something distinctly ‘90s about the EP as a whole, though – the guitar fuzz and mellow vocal delivery recall Pavement, the song ‘Light’ earns comparison to some of Pixies’ more melodic and less frantic work (‘Hear Comes Your Mind’ comes to … err … mind), and the melodic sensibility of Brit-pop bands like Elastica and Blur (the latter in their less pop moments) is present throughout. 

Smith has declared no intention whatsoever to perform these songs live, and no ambition to work further on solo material once she’s able to resume playing regularly with adults. So, we’ll have to be grateful for what we’ve got: a six track EP which manages to be both ambitious and lo-fi, varied but cohesive in sound, funny and sad (sometimes simultaneously). 

Listen to that’s when gd neighbours become gd friends on bandcamp now:

Gregory Metcalfe
@GregorysParty

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Track Of The Day: She Drew The Gun – ‘Cut Me Down’

“Deeper, faster, harder”. The stunning opening single from She Drew The Gun’s third full-length release is a revelation in sonically perfect protest – and it demands to be turned up loud. The swirling melody of that instantly catchy refrain combines strikingly with a bite of heavy punk, resulting in a formidable anthem that bursts out of the speakers – an enticing masterclass in attention-grabbing rock. Flawless production from Ross Orton on ‘Cut Me Down’ amplifies the grungey, driving bass, while hard-hitting drums mirror the lyrics’ spirited rebellion.

The band is the project of Merseyside-based Louisa Roach, who reveals the track was “inspired by the Las Tesis protests in Chile which brought a new level to the idea of a protest song, where hundreds of thousands of women took to the streets and sang ‘The Rapist is You’. The police, the government, the judges, the system was not designed to look after women’s’ rights and it still does not, so I will have to fight ‘Deeper, faster, harder, cheaper, stronger, further, smarter’ just to get even with you.”

A flavour of incredible music in store from the upcoming album, ‘Cut Me Down’ is an entrancing, unsparingly energetic hit of defiant politics, and an outstanding testament to the unstoppable musical force of She Drew The Gun.

Behave Myself, the upcoming new album from She Drew The Gun, is out 24th September via Submarine Cat Records. Pre-order here.

Leonie Bellini
@teenpeachmovie

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LISTEN: LOUD WOMEN – ‘Reclaim These Streets’

An uncompromising feminist anthem that centers women’s experiences of harassment and fears for their safety in public spheres, LOUD WOMEN have shared their new collaborative charity single ‘Reclaim These Streets’. Sparked by the conversations around the untimely deaths of Blessing Olusegun and Sarah Everard, LOUD WOMEN’s founder Cassie Fox invited a collection of female and non-binary musicians to rage alongside her on this vital musical statement, with all proceeds from the track being donated to UK charity Women’s Aid.

“Two women a week are killed by men. Refuge services are having to turn away one in two survivors of violence – and yet refuge funding has been cut by one quarter since 2010,” Cassie explains. “This is a song of feminist solidarity and hope – all women and gender non-conforming people have a right to walk safely on every street, and be safe in their own home.” Backed by the voices of Siobhan Fahey (Bananarama, Shakespears Sister), Brix Smith Start (The Fall/Brix & The Extricated) and Patsy Stevenson (the face of the Clapham vigil) and with instrumentation provided by members of My Bloody Valentine, Salad and T-Bitch, ‘Reclaim These Streets’ is a powerful and necessary punk offering that demands the right to exist in a world free from gender-based harassment and violence.

The track features over 60 female voices from the independent & alternative UK music scenes, including Estella Adeyeri (Big Joanie), Janey Starling (ex-Dream Nails), Nadia Javed (The Tuts), Ren Aldridge (Petrol Girls), Jo Bevan (Desperate Journalist), Siân Alex (Gold Baby), MIRI, Kat Five (Feral Five), Holly Carter (Berries), Angela Martin (Bugeye), Elis Sarv & Kelly Chard (Noise Noir) and many more.

‘Reclaim These Streets’ simmers with a palpable, justified rage and provides a cathartic burst of relief for female and non-binary listeners who have been living under the shadow of street harassment for most of their lives.

Watch the video for the track below. Download ‘Reclaim These Streets’ via bandcamp.

Kate Crudgington
@KCBobCut

Full list of ‘Reclaim These Streets’ contributors:
Abby Werth of I, Doris and Argonaut
Amber of Hadda Be
Angela Martin of Bugeye
Bec Jevons of IDestroy
Brix Smith Start
Caroline Gilchrist of Hot Sauce Pony
Cassie Fox
Charley Stone
Debbie Googe
Debbie Smith
Dungareen Jean
Elis Sarv from Noise Noir
Ella Patenall of Naz & Ella
Emily Eagle of The Pukes
Emma Sky of Slut Magic
Erika Severyns
Estella Adeyeri of Big Joanie
Gail Something-Else of Muddy Summers & the Dirty Field Whores
Gemma Cullingford of Sink Ya Teeth
Georgie Willsher of Beverley Kills
Gilan
Harriet Doveton
Helen McCookerybook
Holly Carter of Berries
Jade Ellins
Janey Starling
Jen Macro
Jo Bevan
Joyce Raskin
Julie Riley of I Am HER
Karen of Hagar the Womb
Kat Five of Feral Five
Kel of The Empty Page
Kelly Chard
Kimmi Watson
Kristina Stazaker
Lee Friese-Greene
Lilith Ai
Liz Hayward of Ode to Sleep
Lorna Tiefholz of Rabies Babies
Marijne van der Vlugt
Michelle Marti of Girls Rock Indiana
Minni Moody
MIRI
Molly Energi
Nadia Javed
Ngaire Ruth
Nicki Mirage of Brazen Hussy/KNM
Patsy Stevenson
Paul Maps – Joyzine
Penfriend
Priya
Ren Aldridge of Petrol Girls
Ros Cairney of Deux Furieuses
Roshi Nasehi
Rowanna Chown
Sam McCann of Gender Chores
Shona MacMillan
Siân Alex of Gold Baby
Siobhan Fahey
Stevie B of T-Bitch
Suteki Hegg
The Pukes
Umbilica

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