Five Favourites: Ratboys

After more than ten years together, Chicago’s Ratboys have now announced their fourth album, The Window, set for release on 25th August. I’m not quite sure how or why I’ve only just come across Ratboys, but they’re new favourites for sure! Taken from the upcoming album, recent single ‘It’s Alive!’ is filled with all the dreamy, lilting hooks and fuzzy allure I could ever need, and Julia Steiner’s vocals are sugar sweet perfection.

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 The Window, we caught up with Julia from Ratboys to ask about the music that has inspired her the most. So, read about her five favourite albums, and make sure you check out the album next month, and watch the video for ‘It’s Alive!’ below!

Sufjan Stevens – Age Of Adz
Without thinking too hard, I can honestly say that this is my favourite album of all time. For a long time I kept a CD copy with me anywhere I went, in my purse. It almost felt like a totem, like something to ground myself against and remind myself in weird times – “Okay, this amazing, insane thing still exists and will always continue to exist.” The mix of soulfulness and coldness and playfulness on this record continues to baffle me every time I listen. Like, the stakes seem sky high, but Sufjan is clearly having a blast. Talk about a fully-realized, simply maxed-out piece of work. What the hell?? The final song on the record – ‘Impossible Soul’ – clocks in at slightly more than 25 minutes long and honestly sounds like an entire album unto itself. Sufjan’s at the height of his powers on this one y’all, highly recommended.

The Dodos – Visiter
When I first met our guitarist Dave in college, we did the classic millennial early friendship move of burning CDs for each other. We made mixes, and we also burned full albums for each other – ones that we thought the other hadn’t heard before and might like. I remember that Dave burned me a CD with this entire album on it, and I’ve loved it ever since. This record, maybe more than any other, reminds me viscerally of a time of year (Autumn) and of a time in my life (specifically late 2010, when I was 18). I love how sparse and yet totally complete it sounds. I love how deceptively fast the songs are. I love how the acoustic guitar takes centre stage on every song and also how so many of the songs go places you wouldn’t expect them too. What a perfect tracklist and album sequence. What a lovely trip.  

Deerhoof – Apple O’
This is an album where I remember the exact moment I discovered it. I was in San Francisco in 2013 doing sports coverage for our college magazine, and I managed to get over to Amoeba Records during some downtime. I found this CD in the “local favourites” section and bought it impulsively based on the album art alone. I’ll never forget sliding it into my car when I got back home and getting completely sucked in by the whirl of drums and guitars that came tumbling out of the speakers, like a cyclone. There is so much joy and so much fun apparent in every song on this record… It just sounds like the love of music-making distilled, like four friends having the best time ever in a room together with their instruments. I’ve seen Deerhoof live many times since then, and they always make me smile like an idiot, without fail. Continually the best reminder that making music should be fun!


Juliana Hatfield – Blood
This was probably my most-listened-to album during the era of the pandemic. I simply couldn’t get enough of it (probably much to the annoyance of my bandmates… sorry! Haha). I first heard ‘Had a Dream’ on a college radio station here in Chicago, and I remember I pulled off into a parking lot to Shazam the song and look up the artist. I hadn’t heard of Juliana Hatfield before this album, but I found out that this is her nineteenth album. I was so late to the party, but better late than never, right? This album is truly wild. A lot of it was recorded using drum presets in Garageband. I just love the way it sounds; I love Juliana’s voice and the biting lyrics and the off-the-wall instrumentation. For an artist this far into her career, this record is almost unbelievably adventurous. Who else is making music that sounds like this?? I’m seriously asking, I want more. Also, this record was a great gateway for getting into the rest of Juliana Hatfield’s discography – it’s well worth a deep dive. 


NNAMDÏ – Please Have A Seat
For lists like this, I’ll always include whatever the latest record is from Chicago legend Nnamdi Ogbonnaya aka NNAMDÏ. We’ve been friends with Nnamdi for a long time, ever since Dave and Sean started playing and going to shows at his former DIY house venue, Nnamdi’s Pancake Haus. Nnamdi is one of the most talented drummers ever, and he was always in a million bands, but he started releasing his own music on Bandcamp sometime in 2013 I think. Each album captures his big heart, brilliant instincts, and wide-ranging musical interests, in such a way that I genuinely can’t wait to hear whatever he makes next. You never know what the next record will sound like, and within those records what the next song will sound like, and within that what the next section of each song will sound like. I love artists that do whatever the fuck they want, who aren’t bound by genre concerns or hangups about aesthetic consistency… Nnamdi is the G.O.A.T. in that respect, both in Chicago and everywhere he goes. This latest record is no exception- check out ‘Dibs’ – you’ll see what I mean.


Massive thanks to Julia from Ratboys for sharing her Five Favourites!

The Window, the upcoming fourth album from Ratboys, is set for release on 25th August via Topshelf Records. Pre-order here. And watch the recent video for ‘It’s Alive!’ below:

Photo Credit: Alexa Viscius 

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LISTEN: Lauren Auder – ‘the ripple’

Lifted from her highly anticipated debut album, the infinite spine, which she shared last week (21st July), ‘the ripple’ is a thrilling, tenacious alt-pop gem that showcases London-based, French-born musician Lauren Auder‘s distinctive artistic talent. Produced by Mura Masa – one of the few collaborators on the record outside of Auder’s immediate creative circle – the track is a cell-tingling exploration of self-autonomy which, much like its namesake, ripples with intense emotion.

Like many of the songs that form the infinite spine, ‘the ripple’ is a potent, pop-drenched exploration and celebration of discovering your true self, and what it’s like being a trans woman in a world that increasingly tries to deny trans women the right to exist on their own terms. Described as “the monkey’s paw of having your voice heard,” ‘the ripple’ is Auder’s rallying cry “to accept, to be duped / to not grimace at the absolute”, a message that she fully delivers via racing, distorted electronics and cathartic screams that permeate the track’s chorus.

During the four years that the album was written, Auder was haunted by the question “what if we could rewrite history?” By shifting her musical direction away from her shadowy, intentionally experimental previous creations, Auder embraces gritty-yet-glistening pop elements and glossy aesthetics to work through her emotions and experiences. “Pop music is meant to be experienced openly,” she declares, and this underscores her desire to live freely in musical and wider societal spheres.

Working alongside GIHE favourite Jessica Winter, Dviance and Alex Parish, the infinite spine is a captivating, superbly produced collection of tracks that form a powerful, pop-infused statement of independence for Auder, and we can’t get enough of it.

Listen to ‘the ripple’ below.

Follow Lauren Auder on bandcamp, Spotify, Instagram, Twitter & Facebook

Photo Credit: Crowns & Owls

Kate Crudgington
@KCBobCut

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LISTEN: Queen Cult – ‘Blackhole’

Queen Cult vocalist and guitarist Maisie Johnson describes the Macclesfield band’s new single ‘Blackhole‘ as a song she wrote to herself during a difficult time. Examining that period following a break up when you re-evaluate your life to figure out what it looks like without that other person’s influence, the titular blackhole is the dark place inside your own head when you struggle to stop overthinking and end up losing your sense of self.

It begins softly, with gentle chimes creating a drifting sensation, making you feel lost in an atmosphere of confusion. The signature Queen Cult guitar leaps in with a quicker tempo, but that initial feeling lingers beneath.

The lyrics acknowledge the pain of the person you normally turn to when you have difficult things to work through being the one person you can’t turn to now. They’re direct, but are delivered with depth, amplified by the strings roaring beneath them. It almost feels like a conversation as they echo the things you might hear from well-meaning friends trying to be comforting, but equally could be simply the platitudes you tell yourself to hurry up the healing process. They capture the internal conflict, jumping between “Tell myself I’m gonna be fine” and “Don’t tell me time will heal / Babe, I’m still allowed to feel”.

Despite being explicitly drawn from one particular experience, this track focuses so well on that internal personal introspection that it’s easy to project your own experiences onto; that period of readjustment is necessary, no matter how the relationship ended. Queen Cult have nailed that sweet spot where this song is simultaneously intensely personal and universally accessible.

‘Blackhole’ takes you on through the entire process of healing and growth, flowing between the different emotional stages – the loud, roaring confusion as you work out the new shape of your life. Both the tense impatience of wanting to be able to move on and the frustration at the entire situation juxtaposed with the softer moments that drift between sad reflection on the lost relationship and a hopeful, positive look towards the future. Finally, it reaches the upbeat sense of making progress and the feeling of relief and empowerment from things starting to make sense again.

Kirstie Summers
@ActuallyKurt

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LIVE (Photos): Higher Ground Festival @ The Roundhouse, 15.07.2023

Last weekend, we were lucky enough to escape the gales and flash floods by seeking shelter in the historic and legendary Roundhouse, in the company of some of the most wonderful musicians. Higher Ground Festival brought together a line-up of predominantly female, genre-defying, artists for an evening of immersive music and unifying vibes.

Following some uplifting funk-fuelled sounds from DJ Tina Edwards, Irish artist Aoife Nessa Frances kicks off the live music with a beautifully stirring set. As her husky tones flow seamlessly alongside sweeping ethereal soundscapes (at times with some impressive one-handed soulful sax thrown in!), the shimmering grace of tracks such as ‘Emptiness Follows’ ooze a captivating, blissful charm.

Next up, Tawiah takes to the stage accompanied by six choral singers to deliver an immensely moving performance of last year’s Ertha – a concept album, chronicling our journey from birth to death. An utterly unique blend of alt-soul, gospel and R’n’B, Tawiah emanates a sweeping majesty and deep spiritual resonance throughout, captivating the audience with a celestial splendour. As well as being blown away by Tawiah’s breath-taking vocal range, we’re treated to a range of different sounds, from scatting to rich clarinet, all whilst she platforms the individual talent of each of the other impressive singers sharing the stage with her. A truly memorable experience, I feel honoured to have been in the company of such a colossal presence.

I think we worked out that this will have been the sixth time we’ve seen Manchester based The Orielles live, and it’s been wonderful to see them go from strength to strength and continue to create their unique offerings over the years. A very different (but no less exciting) experience from first seeing their raw buoyant energy at a very sweaty The Victoria nearly a decade ago, this performance sees Sid, Esmé and Henry joined not only by Emily Zurowski on keys, but also by a string section, to deliver unique creations from their 2022 album Tableau. Whilst I have to admit that I had been a little worried I might have missed hearing any of their older material, my concerns were unfounded: it seems that whatever The Orielles do, they maintain the ability to completely captivate – to instantly immerse the audience with not only their insightful and sophisticated songwriting and layered musicality, but their distinctive swirling energy and fierce charisma whilst on stage. They are a truly one-of-a-kind band, whose dedication to – and innovation in – honing their craft continues to inspire and excite me more with each release.

Having seen The Staves fairly recently at The Barbican for their special 10th anniversary show celebrating debut album Dead & Born & Grown, I was extra excited to see what they had in store for us for their headline set today. Although this evening saw the infamous trio reduced to just two siblings, Jessica and Camilla (with Emily presumably on ‘mat leave), accompanied by a full band, they maintained all the enchanting allure and endearing charm we’ve come to know and love. From ‘classics’ such as ‘Mexico’, through to ‘Teeth White’ and ‘Tired As Fuck, the sisters’ distinctive rich, celestial vocals emanate a harmonious perfection, whilst a subtle gritty energy twinkles cheekily throughout. Expressing their gratitude for being here, and paying dues to the female line-up (though hoping “for a time when all female line-ups aren’t a thing”) by ending the set with the empowering grace of ‘Good Woman’, The Staves continue to exude an exquisite grandeur and euphoric warmth with everything they do.

A glorious evening, celebrating the diversity and magnitude of female artistry. Thank you to all the amazing musicians, DJs and to Higher Ground and The Roundhouse for putting on the event.

Words: Mari Lane / @marimindles
Photos: Paul Dawes / @pauldawesart

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