Track Of The Day: Lucia & The Best Boys – ‘Good Girls Do Bad Things’

In an eerie and roaring manner Lucia & The Best Boys (previously LUCIA) serve us a riveting new taste with their single ‘Good Girls Do Bad Things’. Stepping beyond their roots, the band, in collaboration with producer Carlos De La Garza (Paramore, Best Coast), embark on a soundscape that marries lively ‘80s synth pads with the edge of ‘90s grunge.

‘Good Girls Do Bad Things’ is a pulsing feminist anthem that demands attention from its listeners the moment the striking snare hits. Opening up the song, frontwoman Lucia Fairfull’s powerful vocal melody immediately conveys passion and fierceness that embodies the single’s feeling entirely. With sharp melodic strumming the dirty guitar tone glistens in the name of assertiveness as the perfect correspondence with the song’s ethereal synth preparing listeners for an enchanting, explosive chorus.

As the mix thickens and fast-paced percussion fuels an immense energy, ‘Good Girls Do Bad Things’ creates its own troubled yet addictive universe in its cathartic singalong chorus. The melody portrays both celebration and the hurt of a woman who has presumably sacrificed to survive, a harsh reality for some but a feeling not dwelled upon by Lucia.

‘Good Girls Do Bad Things” is the sound of a woman’s backbone in a realistic world of “bad habits and nothing new”. It is filled with vengeful intentions but sustains an emotional disposition throughout, illustrated by both its lyrics and instrumental tones. Lucia & The Best Boys leave listeners on the edge with their single’s quick conclusion. ‘Good Girls Do Bad Things’ is the ideal taste teaser for their upcoming EP eagerly expected in 2020.

Jillian Goyeau
@jillybxxn

Photo Credit: Tony Wooliscroft

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ALBUM: Brix & The Extricated – ‘Super Blood Wolf Moon’

Known as the Super Blood Wolf Moon, this rare celestial event occurs when the first full Moon in a calendar year is at its closest approach to Earth, during a total lunar eclipse; a collision of the Super Moon, the Blood Moon and the Wolf Moon.

Just like the moonscape that inspired its name, the soundscape of Brix & the Extricated‘s latest LP Super Blood Wolf Moon is a collision of raucous post-punk hooks, infectious progressive rock riffs, and euphoric melodies that honour and transcend the historical output of the band’s founders: vocalist/guitarist Brix Smith Start and bassist Steve Hanley, ex-members of The Fall.

Super Blood Wolf Moon is the third record from Brix & the Extricated – following their 2017 debut, Part 2, and 2018’s sophomore release, Breaking State. Opening with ‘Strange Times’, a gentle, shimmering guitar ballad of global despair that musically recalls Brix’s earlier indie pop band, The Adult Net, it continues with ‘Hustler’ – a different beast altogether. The Fall-esque second track combines the musicality of Brix, Steve, and his brother, drummer Paul Hanley’s, ’80s output – referred to lovingly as the “Brix Smith years” – with lyrical elements of unforgiving brutality: “I know, you know / I know, you know / You’re just a two-bit hustler / It’s coming back to crush ya!”

‘Wolves’ is the defining track of Super Blood Wolf Moon; reflecting on pack mentality and driven by the Hanley brothers’ driving basslines, drum beats and the triple cascading guitar collision of Brix, Steve Trafford (also ex-The Fall) and Jason Brown: “I run with wolves and sleep beneath the stars / The clothes I wear is just to hide the scars / The cross I bear is etched into my skin / I run with wolves, they’re my next of kin.”

The edgy, hypnotic, pulsating bass guitar of Steve Hanley on ‘Waterman’ is complemented by Brix’s haunting vocals, transitioning to the catchy, almost upbeat pop of ‘Dinosaur Girl’. But don’t let your ears deceive you. Brix sings honestly of depression and over medication culture – “Below the excavation / Lies the remains of a Prozac nation / Just a dinosaur girl.”

‘Crash Landing’ explores themes of drug addiction and suicide against a psychedelic guitar soundscape, enhanced by the inclusion of violinist Sarah Brandwood-Spencer’s blissful strings, whilst Brix and Steve Trafford share vocal duties, providing fantastical female/male harmonies for ‘Wintertyde’, arranged against spectral harpsichord.

Brix & the Extricated’s social commentary continues on ‘Wasteland’; a dark, operatic track that explores climate change, the destruction of our environment, and conspiracy through intense drum strikes, thunderous guitars, and sweeping strings. Whilst penultimate track, ‘Tannis Root’, is just as heavy, combining staccato rhythm guitar riffs with punchy, powerful basslines.

Closing Super Blood Wolf Moon with a heightened sense of foreboding, ‘The God Stone’ begins with Sarah’s deeply moving strings, building up to a crescendo of eccentric electric guitar. A fitting finale to an often uncomfortable and challenging record seeped in classic pop melodies, abrasive post-punk and brooding social commentary. Prepare to be extricated!

Super Blood Moon Wolf is out now via Grit Over Glamour Records.

Ken Wynne
@Ken_Wynne

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Interview: Girl Ray

Following 2017’s Earl Grey, GIHE faves Girl Ray are set to release their new album, Girl, later this month. And we couldn’t be happier with the news.

Whilst we’ve been big fans of Girl Ray’s dreamily jangly offerings for a long while now, their new album seems to signal a slight change in a poppier direction, and we’re loving what we’ve heard of it so far.

We caught up with Poppy Hankin from the band to find out more…

Hi Girl Ray, welcome to Get In Her Ears! How are you doing at the moment?
Doing really well thanks! About to eat lunch.

You’re about to release your new album – Girl – on 22nd November, which is super exciting! Can you tell us a bit about it? How does it differ from your beautiful last album Earl Grey?
Of course! Girl is us trying our very best to do pop. Although Earl Grey will always be a special album to us, touring it so much definitely made us crave a change in sound for the next album. We’d been listening to a lot of mainstream pop before recording, and I think the universal appeal of it was something that interested us and made us want to have a crack at writing a pop album of our own. 

What is your songwriting process normally like? Does one of your tend to take the lead, or is it quite a collaborative process?
I usually do most of the writing at home in my room. Although, for this album we collaborated on writing ‘Keep It Tight’ and ‘Let It Go’ together which was really fun! This time round I was using Logic to write, playing around with midi keyboards and different synth sounds and beats to find something that stuck. After I’ve recorded a demo, then Sophie and Iris will work out their drum and bass parts.

And is there anyone or anything in particular who inspires your writing?
For this album, I think I was looking more to producers for inspiration rather than writers. I’d try and listen out for different production techniques and replicate them through our own filter. With ‘Keep It Tight’ we were inspired by Max Martin’s ’00s pop, with ‘Show Me More’ I was listening to a lot of Mark Ronson written/produced tracks and took inspiration from his more polished approach to funk, and with ‘Let It Go’ we were trying to go minimal like Drake.

I’ve been lucky enough to catch you live a couple of times, most recently at Indietracks Festival last summer (I actually proposed to my husband straight after your set – ‘Stupid Things’ is one of ‘our’ songs!), but do you have a particular gig or show that you’ve played that stands out as a particular highlight of your career so far?
That’s so incredibly sweet, congratulations! Hmmm… I think playing Scala was my (and all of our) favourite gig. It had sold out and all of our favourite people were in the audience as it was a hometown show. I was so tense before the show, but as soon as I got on stage I just became really elated. It sounds so intensely cheesy but you could feel that the room was filled with love and positive energy. That was really special. Plus, we got loads of our friends and family on for the last song to play ‘Earl Grey (Stuck In A Groove)’ which is the needlessly long title track of our first album. That was fun.

You were recently named as a PRS New Momentum Artist, which is fantastic news! Can you explain a bit about what this means?
It means that PRS have given us a hugely generous grant to help us with touring costs. There are so many costs that come with touring that you don’t really think about, and this grant means that we don’t have to stress about money for a little while. It’s really sorted us out! 

And how do you feel the music industry is for new bands and artists at the moment – would you say it’s difficult to start out and get noticed?
I think that, thanks to social media and new music platforms, it’s easier than ever to get picked up as a new band. If you’re making interesting music and the right person stumbles upon it, then you’re sorted. Well, maybe it’s not that simple… But I’m feeling positive!!

As we’re a new music focused platform, are there any new bands or artists that you’ve been listening to lately that you’d recommend we check out?
I saw Free Love play at Visions a few months ago and thought that they were incredible. Their music is dancey and clubby and generally very cool. Plus their live set was INSANE.

Finally, in addition to the release of your album, what else does the rest of 2019 have in store for Girl Ray?
We’re about to set off on tour with Metronomy, which we’re really excited about. We’ve been fans of theirs forever. Other than that, we’re releasing the album on the 22nd November and doing bits and bobs around that!

Massive thanks to Poppy for answering our questions! 

Girl, the new album from Girl Ray, is out 22nd November via Moshi Moshi. Catch Girl Ray live on tour with Metronomy:

6th November – Southampton, O2 Guildhall
8th November – London, Roundhouse
9th November – Manchester Academy
14th November – Bristol, O2 Academy
15th November – Nottingham, Rock City

 

Photo Credit: Laura McCluskey

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Track Of The Day: Chromatics – ‘Move A Mountain’

Following last year’s Camera, Oregon based Chromatics have now released their sparkling seventh album, Closer To Grey.

Taken from the album, new single ‘Move A Mountain’ may be a more reflective, downtempo offering than previous releases, though it loses none of Chromatics’ trademark shimmering splendour. Oozing the twinkling, emotion-strewn vocals of Ruth Radelet alongside delicate melodies and a swirling soundscape, a stirring ballad is created, sending shivers down the spine with its wistful melancholy.

Directed by the band’s Johnny Jewel, become immersed in the captivating pastel hues of the new video for ‘Move A Mountain’ here:

Closer To Grey is out digitally now, via Italians Do It Better. Pre-order the vinyl here.

 

Mari Lane
@marimindles

 

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