NEW TRACK: Problem Patterns – ‘Who Do We Not Save?’

The first piece of new music since their visceral 2022 anthem ‘Y.A.W‘ (Yes All Women), Belfast-based DIY punks Problem Patterns have shared their latest single ‘Who Do We Not Save?’. Released via Alcopop! Records who the band have recently signed to, the track takes aim at the incompetent Tory government and their continued attempts to privatise the NHS, and it’s bursting with the group’s trademark empathy, rage and wit.

Giving their listeners a space to release their pent up frustrations, fears and disappointments is a core value of Problem Patterns’ music, and with ‘Who Do We Not Save?’ the band have provided another cathartic aural antidote that offsets the anxiety of the uncertain times we’re currently living through. “You and I are collateral damage” vocalist Alanah Smith states in the chant-worthy chorus, over Bethany Crooks’ commanding beats, the rumbling basslines of Ciara King and the corrosive riffs of guitarist Beverley Boal, who also sings dual vocals on the track.

“Our healthcare system has been falling apart for years due to cuts, and the pandemic only sped up the process,” the band comment about the context of their new single. “We constantly see campaigns telling people to ask for help, especially in regards to mental health, but the reality is that the services we need are under too much pressure. The line ‘We’re one or two paychecks away’ refers to the fact that many of us will be in a lot of trouble if privatisation becomes reality here. The title itself is lifted verbatim from Dominic Cumming’s photo of the white board used to plan the UK government’s early response to COVID. We thought it would be fitting to use it for the single’s cover art, too.”

‘Who Do We Not Save?’ is also accompanied by a video, directed by Smith and shot on location at the Oh Yeah Music Centre in Belfast. “I wanted the video to capture the chaotic energy of the song,” comments Smith. “I pictured the storyline as soon as we’d finished the song. In the first half, you have stressed out healthcare workers trying to save a life without the tools to be able to do so. Meanwhile, there’s a shady business deal to sell off what little is left of public healthcare, big menacing grins and all. I wanted to approach this with a bit of comedy, because if you don’t laugh, you’ll cry.”

“I made the medical supplies and instruments (except the toy drums) with things like cardboard and yarn, as I wanted everything to look extremely cheap and ultimately useless. The death scene in the ambulance was inspired by the film ‘Dave Made A Maze’, where they used things like confetti and glitter in place of standard fake blood.”

Recently name-checked as Riot Grrrl legend Kathleen Hanna’s new favourite group (and as GIHE favourites since the release of their 2020 single ‘Big Shouty‘), we can’t wait for Problem Patterns to release their highly anticipated debut album on Alcopop! Records later this year.

Watch the video for ‘Who Do We Not Save?’ below.

Follow Problem Patterns on bandcamp, Spotify, Twitter, Instagram & Facebook

Problem Patterns UK Live Dates 2023
15.03.23 – The Black Box, Belfast (Pink Pound)
17.03.23 – The Garage, London (w/ Fight Like Apes)
07.04.23 – Oh Yeah Music Centre, Belfast (Friday Fest w/ Axis Of, Mob Wife)
30.04.23 – Bollox, Manchester (Sound Of The Other City Festival)
15.07.23 – Ost Hafen, Berlin (My People Fest w/ FAIM, Dying For It)
22.07.23 – EBGBs, Liverpool (Crapfest w/ Crapsons, Piss Kitti)
19.08.23 – Glasgow (Core Festival)

Kate Crudgington
@KCBobCut

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New Track: Weekend Recovery – ‘No Guts All The Glory’

The second track taken from their forthcoming LP Esoteric, ‘No Guts, All The Glory’ solidifies the fuzzy guitars and catchy refrains fast becoming central to Weekend Recovery’s sound. Much like their first single ‘Chemtrails’, the band’s latest release blends emotional delivery and screaming guitars that make for one hell of an earworm.

‘No Guts, All The Glory’ hits you with fierce drums right from the start. The beat comes in loud and hard, before guitars and vocals quickly ramp up to full energy and stay there. The drums are quick, the guitars are fuzzy and the vocals are so rich with feeling you can’t help but be absorbed into the narrative. In true Weekend Recovery style, the lyrics pull no punches. Without going into the he-said-she-said details, the track calls out the lies and hypocrisy of someone going out of their way to take credit for other people’s achievements – “Well don’t you wanna take the glory, someone else’s work of art!”

Two vocalists sing alternate lines, giving the track a sense of ambiguity. They could just as easily be yelling at each other as ganging up on a third subject who has offended them both. Either way, the hurt is unmissable. Both vocalists evoke utter disdain and contempt for whoever has inspired the song. They lash back in a blunt, uncompromising refusal to play along. They can acknowledge the manipulative behaviour, but rise above it and get on with their lives – “You can brag about me, I won’t talk about you”. There’s even a trace of laughter behind the words, as if mirth has become the only reaction left when watching someone try so hard and still fail to take you down.

This playful undercurrent suits the light, upbeat melody and bouncy rhythm – it makes the song a joy to listen to. The rage in it is cathartic whilst acknowledging the absurdity of people who choose to create more drama in a world that has enough problems already.

Esoteric, the upcoming album from Weekend Recovery, is set for release this Spring.

Kirstie Summers
@ActuallyKurt

Photo Credit: Jess Johnson

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NEW TRACK: Piss Kitti – ‘Leather Forever’

Combining a healthy dose of cynicism and optimism in the same existential breath, Liverpool garage punks PISS KITTI have shared their bittersweet new single ‘Leather Forever’. Released via Venn Records (Gallows, Witch Fever, Bob Vylan, Meryl Streek) and accompanied by second track ‘I’m Jammed’, the AA single celebrates the feeling of breaking through a negative thought cycle and trying to find joy amidst the darkness and chaos of life.

Formed of Esme Brown (vocals), Clara Cicely (bass/backing vocals), Harry Jones (guitar) and Daniel Melia (drums), PISS KITTI strive to defy the monotony of everyday existence with their garage punk anthems. Born from Esme & Clara’s initial desire for better inclusivity and representation for queer people within the UK music scene and beyond, the band vent their frustrations through their music, sharing a similar ethos with Dream Wife and Amyl and the Sniffers, who they have supported on past tours. With ‘Leather Forever’ PISS KITTI push through their frustrations once more. “I don’t wanna die, I wanna live forever / if it all goes wrong, just bury me in leather” sings Esme in the track’s chant-worthy chorus, offering listeners a mantra for testing moments.

“‘Leather Forever’ is about the feeling of being in a dark place worrying about other people and feeling lost within yourself,” the band comment about their new single. “[It’s about] not wanting to be here anymore, but then a switch flicks and you realise everything is okay, noticing beauty in all the things that you never stopped and took the time to appreciate. That feeling when it’s been dark and rainy for a whole week, then you wake up one morning and the sun is beaming through your window and you can feel the heat and you get comfort from it.”

“‘I’m Jammed’ is about the times you get yourself stuck in a situation with someone you care about so much, but they aren’t being open and honest with you,” they continue. “You want them to open up to you but they keep doing things that let you down. You can’t stop forgiving them for their actions because you believe eventually they’ll see their mistakes and everything will be okay.”

PISS KITTI will be hitting the road throughout March and April, on a mix of UK headline dates, support slots with Grandma’s House and Bruise Control, and an appearance at Manchester Punk Festival.

Watch the video for ‘Leather Forever’ & see the band’s full live listings below.

PISS KITTI UK Live Dates 2023
20.02.23 – Manchester – The Peer Hat &
04.03.23 – Liverpool – Kazimier Stockroom
09.03.23 – Leeds – Oporto *
11.03.23 – Sheffield – Sidney & Matilda *
30.03.23 – Manchester – The Deaf Institute
08.04.23 – Manchester Punk Fest 2023
02.05.23 – Leicester – Duffys Bar ^
03.05.23 – Nottingham – Percy Picklebackers ^
04.05.23 – Liverpool – Quarry ^
05.05.23 – Sheffield – Sydney & Matilda ^
06.05.23 – Newport – The Cab ^

* w/ Grandma’s House
^ w/ Bruise Control
& w/ Ming City Rockers

Follow PISS KITTI on bandcamp, Spotify, Twitter & Instagram

Kate Crudgington
@KCBobCut

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Five Favourites: Frankie Rose

Having just released her fifth studio album Love As Projection, New York based artist Frankie Rose creates stirring, electro-fused soundscapes. Propelled by a whirring ‘80s-inspired drive with shades of the likes The Cure (you should also check out Rose’s Cure cover album Seventeen Seconds) or Joy Division, a glistening musicality flows throughout the album with a stirring anthemic majesty, creating a blissful sonic experience.

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 Love As Projection, we caught up with Rose to ask about the music that has inspired her the most. So, read about her five favourite ever albums, and check out the beautiful video for latest single ‘Come Back‘ below…

The Cure – Head On The Door
On an 18 hour drive during a tour a few years ago, we decided to listen to every Cure album in chronological order front-to-back. And, while it was hard to decide during the course of the listening process, Head On The Door was ultimately my choice for best album in the end. The difficulty in the decision is due to the Cure being one of my all-time favourite bands, and choosing this release over a masterpiece such as Disintegration is controversial… But having absolute perfect songs like ‘Close to Me’ and ‘In-Between Days’ on one album sealed the deal after combing through the entire catalogue.


Depeche Mode – Violator
As much as I’ll always appreciate Depeche Mode in their more minimal, early synth-pop days, Violator is the band’s introduction into the mainstream. The album is just so crammed full of ‘tracks’, how can it possibly be topped? The pinnacle of electronic pop mastery. If I recall correctly, I first heard this record when I was 14; ‘Enjoy The Silence’ was a massive hit on the radio, and it became an omnipresent soundtrack to my youth. In retrospect, it’s odd that this synth band had such a major crossover hit in the United States, especially with such a – dare I say – kinky album? 


Kate Bush – Hounds Of Love
‘Running Up That Hill’ and ‘Cloudbusting’ on one release..? Wow! Kate Bush is another key influence on me. I took direct inspiration from the drums on ‘Running Up That Hill’ for a song on Love As Projection (Can you guess which one?!) She’s such an original talent – she has a totally unique style of songwriting and pop structure, she uses almost no cymbals. It’s incredibly theatrical, something I had never encountered before in music prior to getting into her albums. She’s not a typical pop star; it comes across almost more like performance art.


Talk Talk – Spirit Of Eden
For me, this will always be the quintessential Talk Talk album. It is understated but undeniably epic. I don’t consider this a pop record – it’s a record I feel should be listened to from beginning to end. It’s a complete piece of art, and it is perfection. It’s almost like a jazz record; a massive album with lots of negative space, so orchestrated. Meticulously made, and you can tell. It feels like a story told beginning to end, like Mark Hollis had a complete vision for the record conceptually. It’s funny because I’d say there aren’t even any ‘hits’ on the album (at least not in a conventional way). 


Cocteau Twins – Heaven or Las Vegas
Elizabeth Fraser will always be my go-to inspiration. This record is stunning from beginning to end… Is there a more perfect opening song than ‘Cherry-Coloured Funk’? I also find a drummerless band extremely inspirational these days – less is more, and this album proves you can accomplish so much with a minimal sonic palate. I celebrate Cocteau Twins’ entire discography, but this is definitely their most straightforward ‘pop’ record in my opinion; it’s more accessible and fully realized, which I appreciate. 


Massive thanks to Frankie Rose for sharing her favourite albums with us!

Love As Projection, the new album from Rose, is out now via Night School Records.

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