LISTEN: New Pagans – ‘Christian Boys’

A riotous, refreshing call for accountability and a take down of sexist double standards, Belfast band New Pagans have shared their latest single ‘Christian Boys’. It’s the first track to be lifted from their upcoming debut album The Seed, The Vessel, The Roots and All, which is set for release on 19th March via Big Scary Monsters.

Named in our Get In Her Ears ‘Ones To Watch in 2021‘ feature which we shared earlier this year, New Pagans create urgent, considered, catchy sounds that challenge the norms surrounding relationships, history and gender roles. The band take the best elements of post-punk, grunge and pop and transform them into beautifully melodic noise, and this is epitomised on new single ‘Christian Boys’.

Based on the experiences of vocalist Lyndsey McDougall’s friend – who had been having an affair with a Christian leader in Northern Ireland before his marriage to a virgin bride – ‘Christian Boys’ seethes with a righteous fury against the unfair judgement of women who are involved with hypocritical men. “This is shocking but what is more disturbing is that it hadn’t been the first-time similar stories had emerged,” the band explain about the context of the track. “When these men were confronted, they all stated that the women were to blame, it had been their fault, they were the sinners and had led the Christian men astray.”

The urgency in the repeated lyric “Christian boys are the worst I know / Christian girls should take it slow” exposes the hypocrisy underscoring the track’s narrative, calling out those who blame others for their own mistakes. “Lyndsey knows that some of the lyrics in the song could be considered controversial,” the band continue, “but she has grown up around Christian men and believes that this conversation needs to happen, it shouldn’t be off limits.”

Watch the accompanying lyric video for ‘Christian Boys’ below.

Pre-order New Pagans’ debut album The Seed, The Vessel, The Roots and All here.

Follow New Pagans on bandcamp, Twitter, Instagram, Facebook & Spotify for more updates.

Kate Crudgington
@KCBobCut

GIHE: Ones To Watch 2021

Whilst 2021 may not be looking too promising in the grand scheme of things at the moment, the array of amazing new music to look forward to is giving us some hope. So many fantastic bands and artists over the last year have been getting us through the nightmare of 2020, and here we’ve selected just a few who’ve made a particularly lasting impression, and who we’re hoping to hear a lot more from over the next twelve months.

Following our Tracks, Albums and Highlights of 2020, here’s our Ones To Watch in 2021…

deep tan
With acclaim from the likes of The Quietus, NME, So Young and BBC 6Music already under their belts, Hackney based trio deep tan have been enchanting our ears this year with their immersive, hypnotic splendour. First capturing our attention with the swirling grace of 2019’s ‘Air’, they continued to cast their majestic spell over us with this year’s ‘deepfake’ – a poignant comment on the worryingly sexist ways the strange internet phenomenon is used in society. Fusing together the cold-wave side of post-punk with their trademark eerily captivating allure and illustrious, swooning French and English vocals, deep tan have already shown their knack for creating utterly bewitching, sonically complex, soundscapes. I expect their dreamy, effervescent charm to continue drawing in more listeners throughout 2021.
Listen to deep tan on Spotify or bandcamp now. 
(Mari Lane: Co-Founder/Managing Editor)

CMAT
I have The Irish Jam radio show to thank for introducing me to CMAT! The pop sensation released some stellar singles throughout 2020, including ‘Another Day (KFC)’ – a bop about crying your drunken heart out in a chicken shop – and ‘I Wanna Be a Cowboy, Baby!’ – a witty, melancholic anthem about struggling with urban isolation. I interviewed her via Zoom earlier this year and she was just a joy to chat with (read the full thing here.) Even though things still look shaky for the music industry in 2021, I reckon CMAT will release more singles that manage to hit the nail on the head, and I hope that she’ll continue to be a stand-up comedian via her Twitter and Instagram accounts too.
Listen to CMAT on Spotify or bandcamp now. 
(Kate Crudgington: Co-Founder/Features Editor)

Amaroun
Having already caught the attention of BBC 6Music and BBC Introducing, Jay Brown – aka Amaroun – spent the first part of 2020 releasing a new single each month. With each single touching on a different theme surrounding life as a queer woman, she has had us hooked on her scintillating alt-pop. From the poignant, swirling power of ‘Rise’ to the gentle romanticism and playful wit of love song ‘Scarlet’, and the grimey groove of latest single ‘Highest Head’ (a collaboration with Jung Mergs), Amaroun never fails to impress with her unique creations – in equal parts soulful and gritty. I can’t get enough of her stirring, effervescent power, and I’m excited to hear what she has in store for us in 2021.
Listen to Amaroun on Spotify or bandcamp now. (ML)

Divide and Dissolve
Formed of Takiaya Reed and Sylvie Nehill, Divide and Dissolve create eerie, thunderous instrumentals designed to rouse their listener’s state of awareness into questioning what it means to be truly free. I was thrilled to see the duo were back releasing new music this year and that their new album Gas Lit – the follow up to 2018’s Abomination – will be released in January 2021. With their dense and intriguing sounds, Divide and Dissolve are instrumental activists who seek to disrupt toxic white supremacy, reclaim indigenous rights and invite others to join their fight. Their elegant, doomy battle cries will be the perfect soundtrack to 2021.
Listen to Divide and Dissolve on Spotify or bandcamp now.
(KC)

Nuha Ruby Ra
With her diverse range of influences, background in art and satire, and the unique style of both her fashion choices and music videos, Nuha Ruby Ra feels at once a familiar composite of acts from the darker end of alt-pop, and something completely fresh. With two singles released earlier this year, Ra has recently dropped what looks to be a breakthrough. ‘Sparky’ is a tale of escapades in a post-punk, dark synth-pop style, the track is her first release on her new label, Brace Yourself Records, and is taken from the forthcoming EP, How to Move. Ra has been a burgeoning, if slightly less prominent artist for sometime, having appeared on stage with a number of indie favourites, including Warmduscher, but the spotlight seems to suit her perfectly. With her latest release having got radio airplay almost from the minute it was released, and a string of tour dates already planned for live return, don’t be surprised to see Nuha Ruby Ra’s name up in lights in 2021.
Listen to Nuha Ruby Ra on Spotify or bandcamp now.
(John McGovern: Contributor)

KIN
Having first charmed our ears when they played their second ever gig for us at The Finsbury back in January 2019, London trio KIN are already receiving plenty of acclaim for their euphoric alt-pop sounds. As evidenced by receiving over 70,000 streams on Spotify for recent bewitching single ‘Sharing Light’ (and nearly that many for other singles ‘L.O.V.E’ and ‘Wander & Lost’), they seem to be quickly rising to success; their alluring majesty providing a soothingly cathartic listen for fans of all genres. Consisting of Grace, Ritu and Adam, KIN have already completely stolen our hearts, both with their exquisite celestial soundscapes and their unwavering dedication to consistently championing fellow females in the industry. I cannot wait to hear more from them in 2021, and I’m quite sure I’m not alone in my excitement!
Listen to Kin on Spotify now.
(ML)

ZAND
Self-proclaimed “ugly pop” star ZAND creates delightfully wicked tunes that take down slut-shamers and whorephobes, whilst revelling in the joyful feeling of not fitting the mould. The Blackpool-based artist has cultivated a defiant sound and image for themselves, mixing their sweet vocals with savage rap verses laid across warped and wonderful electronics. They’ve got a lot to say and I’m looking forward to hearing more from them in 2021.
Listen to Zand on Spotify now.(KC)

King Hannah
Although I did feature King Hannah as One To Watch last year too, I think it’s completely necessary to include them again. Not only does 2020 not really count anyway, but I think it’s fair to say that, with the immediate success of their recently released debut EP Tell Me Your Mind And I’ll Tell You Mine and signing to City Slang Records (also home to Noga Erez, Lampchop and Laura Gibson), King Hannah are now on the cusp of something very, very exciting… I first fell in love with the Liverpool band (thanks to our writer, John!) on hearing their debut single ‘Crème Brûlée’ (which now has over 60,000 streams on Spotify) back in 2019 – its sweeping, ethereal power and majestic musicality completely casting me under its spell on first listen. And now the entirety of the EP remains utterly compelling; with shades of the likes of War On Drugs propelled by the unique melancholic splendour of Hannah Merrick’s vocals, it’s an emotion strewn listen, oozing a stirring, bewitching allure.
Listen to King Hannah on Spotify or bandcamp now. (ML)

CIRCE
London-based dark-pop artist CIRCE had me under her spell from the moment I read that her track ‘Ten Girls’ was inspired by Margaret Atwood’s novel, The Handmaid’s Tale. Her debut EP She’s Made Of Saints is a majestic blend of her bittersweet vocals, cinematic electronics, her feminist awakenings and obsession with the dark side of LA glamour, epitomised by tracks like ‘Dancer’ on which she explores the dangerous allure of Californian cult The Source Family. She’s crafted this mysterious, David Lynch inspired image that fits her sound perfectly too.
Listen to Circe on Spotify or bandcamp now.
(KC)

Ailbhe Reddy
Ireland-based artist Ailbhe Reddy made her debut appearance on the indie circuit in 2016. However, it was 2018’s beautifully poignant single ‘Shame’ which introduced me to Reddy’s sharp songwriting. Having completed the checklist of performing at various UK festivals, Ailbhe Reddy was poised to make the leap across the pond with a slot at SXSW festival before 2020 pressed pause on the live music industry. Despite the setback, Ailbhe Reddy provided the soundtrack of my lockdown 2.0 with her debut album Personal History. An introspective snapshot of everyday emotional turmoils, coupled with a polished production, Personal History is Ailbhe Reddy’s armour to march back into the live music scene in 2021.
Listen to Ailbhe Reddy on Spotify or bandcamp now.
(Nicky Lee-Delisle: Contributor)

New Pagans
Another Irish Jam find! Belfast-based New Pagans’ debut EP Glacial Erratic is an impressive collection of urgent, considered, intensely catchy songs that challenge the norms surrounding relationships, history and gender roles. The band take the best elements of post-punk, grunge and indie rock and transform them into beautifully melodic noise, and this is epitomised on ‘Yellow Room’, the single they released shortly after their EP. They’re currently working on a full length record, so fingers crossed they’ll be able to share that with us in 2021.
Listen to New Pagans on Spotify or bandcamp now.
(KC)

Fräulein
Having only come across Fräulein earlier this year, through seeing them perform a stripped back ‘live’ set for Hanni from ARXX’s Coming Out Staying In festival back in April, I’m already a big fan of the duo’s raw, visceral sound. Oozing a captivating dark energy, this year’s singles ‘Drag Behind’ and ‘Mary’ are propelled by the gritty power of Joni’s raw sweeping vocals, as abrasive, grunge-infused hooks steadily build an increasing tension with the help of Karsten’s immense beats. With shades of the mysterious allure of underrated ’90s band Slint, Fräulein offer a unique, spellbinding majesty. A new favourite, in ‘normal’ times, I’d be booking Fräulein for a gig with us at The Finsbury as soon as possible, but for now I will have to settle for listening to ‘Drag Behind’ on repeat, and dreaming of the day I can witness their dark energy live in a room full of sweaty fans.
Listen to Fräulein on bandcamp now. (ML) 

GIHE: Tracks Of 2020

It feels strange to be celebrating anything in 2020, but the GIHE team want to shine a light on some of the brilliant music that’s been released against the odds during the last 12 months. If you or your band managed to release some music this year – congratulations! You should be super proud. If you didn’t manage to write anything new this year though, we fully understand and we’ll still be here to sing your praises when you feel ready to write again.

Following our album round-up yesterday, today we share our ‘top tracks’ of 2020. As you can tell, we haven’t held back, as there’s just been so much amazing music released this year that we felt deserved a mention. So, read about our forty two favourite songs of the year (told you we weren’t holding back!), and then hit play on our mammoth, and super eclectic, playlist at the end of this post….

HAWXX – ‘Deadlands’
Having previously blown us away with their immense live show, heavy rockers HAWXX this year released their epic four track debut Deadlands. And the immense title track has been on heavy rotation around my ears since first hearing it back in May. With an explosive frenzied energy propelling raging hooks and the seething vocals of front woman Anna Papadimitriou, it’s an utterly compelling whirlwind; a fantastically fierce accompaniment to the chaos of 2020.
(Mari Lane: Co-Founder/Managing Editor) 

Vulpynes – ‘Sister’
Having been majorly disappointed when we had to cancel our April gig at The Finsbury that Dublin duo Vulpynes were set to headline, it came as some consolation that they released a perfectly riotous EP Us Against Them later in the year. Taken from the EP, ‘Sister’ is a powerful ode to ‘pseudo sisterhood’. Propelled by Molly’s raw, impassioned vocals, it oozes an immense sense of urgency amid a seething eerie underlying force. With swirling, reverb-strewn hooks and pounding primal beats, it’s a fantastically fierce, empowered slice of ferocious rock magnificence.
(ML)

Guitar Gabby/The Txlips – ‘The Dead Pool’
With a mission to change the narrative in which the music industry showcases women, Atlanta based Guitar Gabby and The Txlips partner with Girls Rock Camps internationally and nationally to bring classes about home recording, equipment set up, copyright law and more to young girls. Taken from their explosive album Prison Of Life, ‘The Dead Pool’ is filled with scuzzed out riffs as Gabriella Logan’s seething growl soars. Oozing a gritty emotion, it’s a ferocious, empowering anthem; a completely necessary angst-driven offering for these strange times.
(ML)

Problem Patterns – ‘Sell By Date’
Taken from The Fight Is Not Over – a collaborative record with songs from Strange New Places, Gender Chores and Sister Ghost, in addition to Problem Patterns – ‘Sell By Date’ is a perfectly raging anthem rallying against societal gender norms and the pressures and expectations put on women of a certain age to have children (something I relate to HARD). Propelled by an empowering seething energy, it’s a frenzied fist-clencher that leaves me longing to witness it in all its live glory. The Fight Is Not Over addresses the need to continue pushing for more inclusive and diverse spaces and was recorded by Rocky O’Reilly to raise money for  The 343, an Artist-Focused, Feminist-led, Queer Arts Space in East Belfast. Read our interview with the four bands and find out more about the project here.
(ML)

New Pagans – ‘Yellow Room’
I love it when my feminist literature and new music worlds collide! Inspired by the semi-autobiographical short-story The Yellow Wallpaper by American author Charlotte Perkins Gilman, Belfast-based New Pagans’ penned ‘Yellow Room’ to highlight the need for a specialised parent-and-baby mental health unit in Northern Ireland. Through the medium of Gilmans’ text, the band explore the isolation faced by new mothers, with Lyndsey McDougall’s urgent vocals leading the way. I loved listening to the band’s EP Glacial Erratic earlier this year too and I can’t wait to hear more from them in 2021.
(Kate Crudgington: Co-Founder/Features Editor)

LIINES – ‘Sorry’
Having received acclaim from the likes of Sleaford Mods, John Kennedy and BBC 6Music’s Steve Lamacq, as well as blowing us away headlining for us at The Finsbury, Manchester trio LIINES consistently impress with their distinctive, raw post-punk. Oozing the band’s trademark dark, brooding power, ‘Sorry’ builds with deep, intense bass lines, the gritty, commanding growl of vocalist Zoe McVeigh and Leila O’Sullivan’s consistent pummelling beats. Propelled by a thrashing sense of urgency, it’ll captivate the ears with its punk-fuelled bewitching allure.
‘Sorry’ is out now (with B side ‘On and On’) via Reckless Yes.
(ML)

Tiger Mimic – ‘Where The Fire Used To Be’
Disappointed that we had to cancel what would have been their debut gig for us in April, we were glad to hear Tiger Mimic’s new releases this year. Propelled by a driving energy, ‘Where The Fire Used To Be’ blasts out racing riffs alongside the soaring splendour of front woman Jess’ striking vocals. Building to an immense climax, it offers a sense of hope in these seemingly hopeless times, reassuring us that “the whole world will start over in the spring”.
(ML)

Bitch Hunt – ‘Spaceman’
Since forming at First Timers Fest, London based all queer/non-binary band Bitch Hunt have been going from strength to strength; last October impressing us at GIHE us with their immense live set at The Finsbury. Taken from a split cassette that they released with fellow faves adults earlier this year, ‘Spaceman’ is an observational and relatable slice of punk-pop. With Bitch Hunt’s trademark impassioned energy and swirling harmonies, it’s a spot-on reflection on the sickening arrogance of all those cis male ‘splainers and ‘spreaders we so often have to endure in our day to day lives.
(ML)

Porridge Radio – ‘7 Seconds’
In a year where so much went wrong, watching the unstoppable rise of Porridge Radio felt so right. With ‘7 Seconds’ the band moved away from the guitar-heavy sound of their Mercury-nominated album, Every Bad, towards alternative ’80s synths. The result is reassuringly nostalgic, like it’s jumped from the soundtrack of a badass John Hughes film; melancholic, but still upbeat and unbelievably catchy.I’m in love with front-person and songwriter Dana Margolin’s voice. Bold and strong, but vulnerable too, they sing of wasting, waiting and rising above it all. Against the backdrop of a rather tedious few months, ‘7 Seconds’ feels hopeful and exciting. When it comes on the radio, as it frequently has, I feel a little jolt of electricity run through my veins. And it’s a jolt that’s wired straight to my heart, mind… and my feet. The song – and the band – are something very special, and I can’t wait to see what they do next.
(Vic Conway: Contributor)

CMAT – ‘I Wanna Be a Cowboy, Baby!’
“Always the cowboy, never the cow / I hate the way my life turned out” might just be the lyric of 2020, provided by Irish pop sensation CMAT. “[The song is] based around a VINE that was really popular from a couple of years ago of a load of guys drinking cans outside in a playground saying “I wanna be a cowboy baby!,” CMAT explained when we spoke to her about the single in September. The popstar has a talent for taking obscure scenarios and molding them into intensely relatable, catchy pop tunes and ‘I Wanna Be a Cowboy, Baby!’ is a charming slice of  Americana-tinged pop that laments the struggles of urban isolation.
(KC)

Kynsy – ‘Cold Blue Light’
Based on her own experience of being at a New Years Eve party watching a man spout racist remarks, Dublin-based multi-instrumentalist Kynsy’s single ‘Cold Blue Light’ is a dark synth-pop gem that oozes with defiant attitude. I love her genre-blending sounds and I’m excited to hear more from her in 2021.
(KC)

Jessica Winter – ‘Sad Music’
This is the title track from Queen of sad bangers Jessica Winter’s debut EP, and it’s an electro-pop gem. Inspired by the need to relieve heartbreak through the medium of music, Winter effortlessly blends elements of electronica, pop, R&B and industrial music to create her intensely dance-able sounds. I pranced around my bedroom miming to ‘Sad Music’ for most of Lockdown 1.0.
(KC)

Husk – ‘Heal With Time’
One of our favourite discoveries of 2020, Manchester-based trans non-binary artist HUSK creates uptempo pop gems. Released in the summer, ‘Heal With Time’ oozes a celebratory sound juxtaposed with a poignant, reflective lyricism. Propelled by ’80s-inspired glistening hooks and synth-soaked uplifting summer vibes, it’s a vibrant, danceable anthem, shimmering with a sparkling empowering energy.
(ML)

Kadija Kamara – ‘Best Moves’
Even in uncertain times, London-based songwriter Kadija Kamara remains focused on her ‘Best Moves’. On this single, she calmly reminds listeners to own their “magic” and recognise the value of their own work, reassuring them with her warm beats, grooving bass lines and smooth vocals. With a sound best described as “alt-soul” which combines her love of ’60s and ’70s analogue sounds, Kadija’s passion for nostalgia permeates her musical output.
(KC)

Evil House Party – ‘Wicked’
An intoxicating blend of hazy vocals and sultry synths, Evil House Party’s debut single smoulders with the intensity of a hot summer night fuelled by Bonnie & Clyde-esque musings. ‘Wicked’ is a “bittersweet revenge pop anthem” that seduces listeners with its yearning vocals and heady beats.
(KC)

CIRCE – ‘Ten Girls’
London based dark-pop artist Circe is inspired by the films of David Lynch, the brutality of Margaret Atwood’s fiction, the soundtrack to Stranger Things and Baz Lurhmann’s Romeo & JulietThis single ‘Ten Girls’  takes its title from a quote from The Handmaid’s Tale. Of the track, Circe explains: “[Atwood’s novel] is a poetic but disturbing view of women living in a dystopian oppressive world. This chimes with my own fractured generation of cancel culture, swipes of sex, and revenge porn.” I’m obsessed with Circe’s debut EP She’s Made Of Saints, which is full of sweeping, cinematic gems.
(KC)

Notelle – ‘Bugs’
I love the industrial-tinged production and wispy vocals on Nashville-based “nightmare-pop” artist Notelle’s single ‘Bugs’. She wrote this song after a break-up when she felt like part of her ex was still invading her body and it’s an intoxicating, feverish effort to rid herself of this unwanted sensation.|
(KC)

Noga Erez – ‘You So Done’
A resilient, emotionally charged offering from an uncompromising artist, Noga Erez’s single ‘You So Done’ delves deep into the memories left behind by a toxic relationship. Far removed from the joviality of her lockdown inspired single ‘NO News On TV’, Erez channelled her fears, frustrations and un-nerving flashbacks into this track, which radiates with artistic confidence. Accompanied by a stunning set of visuals directed by Indy Hait, also featuring her musical partner Ori Rousso, the Tel Aviv-based artist continues to blow us away with her mesmerising musical accomplishments.
(KC)

Eilis Frawley – ‘Stats’
Taken from her incredible EP Adult Life, Eilis Frawley’s ‘Stats’ is one of the most stunning and necessary listens of 2020. Offering a completely unique soundscape from the classically trained percussionist, it combines arresting drum-beats with Krautrock-infused spoken word, as the lyrics see Frawley recite hard-hitting stats, highlighting the everyday injustices facing women today. Tackling issues such as period poverty, FGM, domestic violence and other vital issues, it’s a beautifully striking and necessary listen. A poignant protest song that you can dance to. Adult Life is out now via Reckless Yes.  
(ML)

Princess Nokia – ‘Sugar Honey Iced Tea (S.H.I.T)’
Openly queer rapper and all round inspiration, Destiny Nicole Frasqueri – aka Princess Nokia – writes powerful, feminist anthems promoting self love and raging against the patriarchy. Fusing together infectious beats and a powerful, angst-driven energy, along with her trademark tongue-in-cheek wit, with ‘S.H.I.T’ Princess Nokia once again offers an empowering and playful presence in these times when pushing for change is so important.
(ML)

Æ Mak feat. Seba Safe – ‘i dance in the kitchen’
Joyfully schooling listeners how to make uplifting kitsch-pop tunes under the strangest of circumstances, Irish artist Æ MAK’s single ‘i dance in the kitchen’ was made with “100% childsplay and solo belly laughs.” Featuring the vocals of fellow Irish artist Seba Safe, the track is lifted from her EP how to: make a kitsch pop song to show the world, which she produced from home during Lockdown 1.0. I loved bopping around my bedroom to this record and of course, dancing in the kitchen to it too.
(KC)

Lido Pimienta – ‘Eso Que Tu Haces’
No-one else makes electronic music sound as warm and meaningful as Colombian-born, Toronto-based artist Lido Pimienta does. This track ‘Eso Que Tu Haces’ (translated roughly as ‘That Thing You Do’) is one of many triumphant singles lifted from Pimienta’s Grammy-nominated album Miss Colombia, which is a vivid celebration and criticism of her Colombian heritage. I have spent many an hour marvelling at the artwork on this record and singing along to my baby pink vinyl, despite knowing only three words in Spanish.
(KC)

Eckoes – ‘The Light’
Having dazzled us playing live at The Finsbury a few years back, London-based Eckoes consistently creates beautiful, soothing soundscapes. Filled with strobing synths and shimmering guitars, ‘The Light’ showcases the truly spellbinding power of Eckoes’ soaring vocals, as it lulls the listener into a cathartic sense of hypnosis with its alluring grace. A truly captivating offering from an artist on the rise.
(ML) 

Serena Isioma – ‘King’
Chicago-based musician Serena Isioma’s single ‘King’ is full of seductive beats and brooding bass lines. It’s a shimmering reflection on the problematic friendships 20-year old Isioma has found themselves in. “’King’ is about remembering your worth,” the songwriter explains. Isioma’s latest EP The Leo Sun Sets is every bit as poignant and dreamy as this single.
(KC)

Despicable Zee – ‘We Won’t Stop’ (Tiiva Remix)
A captivating, left-field electronic exploration of dual heritage, motherhood and self-autonomy, Oxford-based drummer and producer Despicable Zee (aka Zahra Haji Fath Ali Tehrani) released her third EP Atigheh in 2019. This year, with the help of an eclectic mix of collaborators, Zee shared a remix of the recording titled Atigheh Reimagined, which opened with this track by Tiiva. Keeping the hypnotic qualities of the original, Tiiva’s treatment of  ‘We Won’t Stop’ fuses smooth, breathy vocals together with dense yet ambient beats. I can’t recommend listening to this EP enough, it also features collaborations with Tiece, Planningtorock and Young Knives.
(KC)

MJ Guider – ‘FM Secure’
Lifted from her album Sour Cherry Bell, MJ Guider’s shadowy single ‘FM Secure’ is permeated by murky industrial sounds and atmospheric, beguiling vocals. Based in New Orleans, MJ Guider (aka Melissa Guion) blends elements of shoegaze, gothic pop and industrial sounds to create her hypnotic music. On Sour Cherry Bell, Guider explored power dynamics and the notion of “lost and found” and these musings extended to ‘FM Secure’, its ominous glow intensifying with each listen.
(KC)

Two Tribes – ‘Cruel Sensuality’
Full of commanding beats, jagged synths and soaring vocals, Two Tribes‘ single ‘Cruel Sensuality’ is a cathartic oscillation between emotional resilience and the unexpected apathy that comes with the ending of a relationship. Taken from their upcoming EP, which is set for release in 2021, the London-based trio blend vivid electronic textures with jolting rhythms to create an anthemic new sound. This is a grade A BANGER.
(KC)

Kelly Lee Owens – ‘L.I.N.E’
I could have picked any track from Kelly Lee Owens’ second album, Inner Song, having listened to it on repeat so often that it’s become like listening to one continuous ambient epic.  ‘L.I.N.E.’ stands out, as the most deeply emotional song on the album, and because it gives some exposure to Owens’ vocals, also a central feature of  ‘Luminous Spaces’, her collaboration with Jon Hopkins, and one of my favourites from last year .  It’s also a reflection of how much more electronic music I’ve listened to lately (other notable acts from the last 18 months have included Peggy Gou, Bicep, and HAAi).  It could be that I’ve missed the old days of being out and about, at venues packed with bodies, light and sound – but I also think there’s something valuable in the (often) unspoken emotion of electronic music at a time when connections between us all have been strained.  Given the domestic nature of much of recent times, and paraphrasing a Jarvis Cocker single from 2020, I’ve been listening to House Music all year long.
(John McGovern: Contributor)

Grawl!x – ‘Epicene’
Having headlined the last gig we held at The Finsbury before the world changed forever, Grawl!x creates euphoric cinematic soundscapes filled with twinkling electronic hooks and spellbinding harmonies. Characterised by Maria’s distinctive impassioned vocals and a poignant stirring emotion, each offering from the Derby-based artist is utterly captivating.
‘Epicene’ is taken from Grawl!x’s album Peeps, out now via Reckless Yes.
(ML)

Penelope Trappes – ‘Eel Drip’
A goose bump inducing electronic soundscape, ‘Eel Drip’ is the title track from London-based, Australian-born artist Penelope Trappes’ most recent EP. It’s a dark, delicate rumination on accepting the inevitability that our lives will all be touched by death at some point. Through her arpeggiated electronics and beguiling vocals, Trappes extrapolates on these themes and invites her listeners to experience the comfort and the catharsis that comes with this acceptance.
(KC)

Mentrix – ‘Walk’
Born in Iran but now based in Berlin, Mentrix (aka Samar Rad) blends her experiences of eastern and western culture along with traditional Sufi instrumentation to create her beguiling, bold soundscapes. ‘Walk’ is full of captivating vocals, atmospheric electronics and commanding percussion. It’s taken from her debut album, My Enemy, My Love, which is a powerful exploration of female resilience, independence and what happens when women are caught between two cultures, each filled with their own flaws and freedoms. It’s a stunning record and this track is a definite highlight.
(KC)

Blonde Maze – ‘Not All Flowers Bloom’
Having been a huge fan of New York artist and previous guest on our radio show Blonde Maze for a long while now, it was wonderful to hear her new releases this year. Reflecting on the realisation that even though something is beautiful, it may not last forever, ‘Not All Flowers Bloom’ is a truly euphoric slice of electro-pop. A perfect example of Blonde Maze’s knack for creating exquisite soundscapes. I could listen to everything she creates on a loop forever; it’s just so completely calming and blissfully cathartic.
(ML)

CATBEAR – ‘Girl Crush’
A dreamy electro-pop rumination about wanting a friendship to develop into something more romantic, London-based queer duo CATBEAR’s single ‘Girl Crush’ was written during Lockdown 1.0. Recorded and produced in Zoe  Konez’s home studio in Brixton, the single is a completely DIY affair, with Sarah Smith laying down her vocals in her spare room wardrobe. The pair playfully ponder the “could-have-beens and what ifs” when it comes to thinking about that certain someone. Their charming pop creations were a welcome distraction for those caught up in a crush during unusual times.
(KC)

Ellis – ‘Fall Apart’
Released in early January, Canada’s alt-indie angel Ellis released this swirling single. Dawning at a time of blissful ignorance during a quiet moment before the storm to come, Ellis couldn’t have anticipated the level of comfort ‘Fall Apart’ would bring to her listeners in 2020. With dreamy, personal moments illustrated so softly, Ellis’ peaceful scenes of whispers under sheets served as a euphoric escape that also acknowledged hardship through self-awareness. Both humility and hesitation are felt through Ellis’ symbolism of what it means to accidentally fall apart. Her delicate depictions and flustered lyrics are realities felt by so many. Hushed vocals and warm guitar tones embody the closeness and tenderness that ‘Fall Apart’ illuminates. A nostalgic essence is met with a small amount of weariness that captivates the complexity and fear of being unconditionally seen by another, even on our worst days. In an uncertain time it has served as a utopian narrative of relatability and release. Ellis’ ‘Fall Apart’ is a therapeutic moment that exists in a cloudy sky, gloomy, but kissed by the sun.
(Jill Goyeau: Contributor)

Talking Violet – ‘Indigo’
Canadian band Talking Violet’s first single in two years,  ‘Indigo’ offers an ethereal dreamscape oozing a shimmering haze and immersive shoegaze-tinged hooks. Flowing with the Cocteau Twins-esque vocals of front woman Jill Goyeau, and swooping other-worldly melodies, it’s an utter sonic delight. A truly immersive listen that’ll leave you longing for more. (Jill also happens to be an excellent writer for us at GIHE!)
(ML)

ARXX – ‘Call Me Crazy’
Following the release of last year’s EP Wrong Girl Honey, and 2018’s debut Daughters Of Daughters, total faves ARXX this year returned to our ears with ‘Call Me Crazy’. Whilst it may be a bit of a change in tone for the Brighton duo, it loses none of the emotion-strewn power we’ve come to know and love. Showcasing Hanni and Clara’s more reflective side, it offers a heartfelt offering reflecting on mental health struggles, at a time when this topic is more resonant than ever before. Whilst dealing with an affecting subject, however, ARXX manage to create a truly uplifting and instantly catchy empowering anthem.
(ML)

Emma Kupa – ‘Nawlins’
Already a big fan of her band Mammoth Penguins, I’m no less in love with Emma Kupa’s solo material. Taken from this year’s beautiful album It Will Come Easier, ‘Nawlins’ flows with lilting, folk-strewn melodies and Kupa’s distinctive raw vocals. Filled with a heartfelt lyrical storytelling and euphoric uptempo musicality, it builds with glistening hooks to a stirring slice of perfect indie-pop. It Will Come Easier is out now via Fika Recordings.
(ML)

Captain Handsome – ‘Halloween’
Taken from Captain Handsome’s debut EP I Am Not An Animal, ‘Halloween’ flows with silky-smooth vocals and a twinkling, stripped-back musicality. With its delicate lo-fi scuzz and tongue-in-cheek relatable lyricism (“It was halloween, I was 24, I had a bad time on the bathroom floor”), it’s a sensitive, yet not sentimental, effervescent offering. Captain Handsome is the solo project of Lily from Fightmilk, and her EP I Am Not An Animal was released in January via Reckless Yes.
(ML)

Finish Flag – ‘Garden’
Having first fallen in love with Finish Flag when they played for us live at The Finsbury last summer, this year their album Swimming Pools has provided a lot of comfort. Taken from the album, ‘Garden’ flows with twinkling hooks and luscious harmonies, creating a dreamy slice of lo-fi indie-pop. Another band who I’ve sought soothing catharsis in throughout 2020, I bought Finish Flag’s beautiful pink vinyl on bandcamp day a couple of months ago, and I recommend you do the same.
(ML)

Gold Baby – ‘Versaille’
Having been following Gold Baby for some time now, last year front woman Siân Alex joined forces with Sara Kleppe and Scott Hislop to form the band as we know them today. And it’s been wonderful to see them go from strength to strength. Recent single ‘Versailles’ showcases all there is to love about them. With shimmering guitars and swooning melodies flowing alongside Siân’s luscious, crystalline vocals, it oozes a stirring heartfelt emotion. A beautifully rich slice of melancholy dream-pop.
(ML)

LibraLibra – Listerine
Brighton-based LibraLibra have been firm favourites of GIHE for a couple of years, never ceasing to impress. And this year they released their phenomenal debut EP Hail Mary. Taken from the EP, ‘Listerine’ is a step away from the usual high energy riotous cacophonies of previous releases. Showcasing the incredible soaring splendour and versatility of front woman Beth Cannon’s vocals with an almost operatic force, it builds to a magnificent, immense anthem of self-realisation.
Hail Mary is available on bandcamp now.
(ML)

Beckie Margaret – ‘God’
Essex-based songwriter Beckie Margaret has a flawless voice and a talent for writing beautifully bruising lyrics, something that her single ‘God’ showcases perfectly. I’m not ashamed to say I shed a tear when I first listened to this track, which is a cinematic reflection on unreciprocated love. Margaret releases through Cool Thing Records, who are a collective of people who absolutely love the music they’re making and promoting. It’s always a good day when an email about one of their artists appears at the top of my GIHE inbox.
(KC)

Massive thanks to all the artists and bands creating wonderful tunes this year! Keep an eye out for our Ones To Watch for next year, and listen to our Tracks Of 2020 playlist now:

WATCH: New Pagans – ‘Yellow Room’

Following on from the release of their single Yellow Room in August, Belfast’s New Pagans have shared a captivating set of visuals to accompany their racing, urgent track. Directed by bassist Claire Miskimmin, the video reflects the often overwhelming feelings of darkness that women face in patriarchal society.

Inspired by the semi-autobiographical short-story The Yellow Wallpaper, which was written by American feminist author Charlotte Perkins Gilman, New Pagans originally penned the track to highlight the need for a specialised parent-and-baby mental health unit in Northern Ireland. “’Yellow Room’ is the fourth instalment in a series of self-made folk horror themed short films produced to accompany our music,” explains vocalist Lyndsey McDougall. “Set in the stunning local surroundings of Northern Ireland, we tried to evoke a sense of dread and isolation in the expanse of nature. In stifling a woman’s mind we take away her liberty, as in the novel the song is based on. It’s about the facade and the masks we wear, but break the surface and we find our protagonist’s strength. She cuts herself free and is set adrift.”

Watch the video for ‘Yellow Room’ below and follow New Pagans on bandcampFacebook & Spotify for more updates.

Kate Crudgington
@KCBobCut