PLAYLIST: January 2020

We’re two weeks in to 2020, and whether you’re keeping up with ‘Dry January’, venturing into ‘Veganuary’ or simply demolishing the leftover Christmas snacks; we’ve put together a list of brand new music to help with all of the above. Take some time to scroll through our track choices below, and make sure you hit play on the Spotify playlist at the end of the page.

 

Shopping – ‘Initiative’
Referencing governments who shirk responsibilities whilst placing blame on individuals; international trio Shopping’s new single ‘Initiative’ oozes a racing sense of urgency and gritty energy, whilst funk-fuelled beats and jangly, whirring hooks flow. Taken from the band’s upcoming new album, it’s a vibrant anthem encouraging us to stay motivated and keep going against the grain. All Or Nothing, the new album from Shopping, is out 7th February via FatCat Records. (Mari Lane)

Dream Nails – ‘Text Me Back (Chirpse Degree Burns)’
With their distinctive, raucous punk-pop energy; our favourite London Punk Witches Dream Nails address the anxious hell-scape that is 21st century dating on ‘Text Me Back’, and the excruciating pain of being left on “read”. With stomping beats, pounding bass-lines and immense riffs accompanying the fun-filled lyrics, it’s an instant smile-inducing anthem. Of the track, Janey from the band explains: “For those born beyond the M25, “chirpse” is London slang for flirting, and “chirpse degree burns” is our personal slang for the injuries borne from romantic misadventure. The song is a tribute to the gut-wrenching feeling of checking your phone every 5 minutes to see if your crush has replied.” ‘Text Me Back’ is taken from Dream Nails’ eponymous debut album, out 3rd April via Alcopop Records. (ML)

Party Fears – ‘Money’
I’m thrilled to announce I am now a contributor to The Irish Jam for their #NewMusicSunday slot, which airs on Riverside Radio on Sunday evenings 7-9pm. They focus on new music from Irish artists, so I played Party Fears’ latest single ‘Money’, as they’re formed of Northern Irish native Maggie Devlin, and Aussie Eilish Frawley. Their single ‘Money’ is a reflection on power, and how it isn’t always used for the greater good. It’s raw, it’s shouty, and it’s catchy as hell. (Kate Crudgington)

draag – ‘Ghost Leak’
A hazy ode to feeling inconsequential; L.A, shoegaze outfit draag have crafted a strung out, dreamy soundscape on their latest single ‘Ghost Leak’. The track is lifted from their upcoming EP Clara Luz, which is set for release on 21st February. (KC)

Post Louis – ‘Descender’
The new single from London art-rockers Post Louis, ‘Descender’ juxtaposes a dreamy, swirling musicality with soaring impassioned vocals. Oozing a heartfelt raw emotion, it’s a truly captivating slice of stirring alt-folk. Descender, the debut album from Post Louis, is out 28th February. (ML)

Xylo Aria – ‘Ignorance’
‘Ignorance’ is the eponymous track from London-based producer Xylo Aria’s latest EP; a collection of songs informed by the current environmental crisis, mental health issues, and the societal pressure she feels to conform. Aria also runs Music Production For Women, which is a fantastic initiative encouraging women to get involved in the production of their own music. Listen to the Ignorance EP in full here. (KC)

Madeleine Smyth – ‘Palmers Green’
Released by independent record label Scratched, London-based artist Madeleine Smyth’s recent EP Covert is a beguiling blend of soft vocals, ambient sounds, orchestral elements, and trip-hop inspired beats. ‘Palmers Green’ is one of four tracks showcasing Smyth’s ability to blend all of these influences seamlessly. (KC)

Aisha Badru – ‘Soil’s Daughter’
The new single from New York artist Aisha Badru, ‘Soil’s Daughter’ reflects on the need to protect our environment. Radiating a sparkling majesty and subtle, soulful power, it’s a truly beautiful ballad; a moving and sincere offering at a time when our world is literally burning, and things feel like they’re falling apart. Of the track, Badru expands: “This is me reflecting on the world, and this huge disconnect between us as a people, and us with the planet.” Transcendence, the upcoming EP from Aisha Badru, is out 7th February via Nettwerk. (ML)

Drea & The Marilyns – ‘Everything to Me’ (Lips Cover)
Loving this cover of Lips’ ‘Everything to Me’ by Drea & The Marilyns! I mean, I loved the original but I’m really enjoying this remake from the Seattle-based artist. Mix anything up with some electro-synths, and I’m yours. (Tash Walker)

Captain Handsome – ‘Halloween’
The second single taken from Lily from Fightmilk’s solo project Captain Handsome, the rather unseasonably entitled ‘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 slice of indie-pop. I Am Not An Animal, the debut EP from Captain Handsome, is out 31st January via Reckless Yes. You can catch them live for us at The Finsbury on 14th February, along with Piney Gir, Grawl!x and I Am Her. (ML)

Fenne Lily – ‘On Hold’ 
I’ve been following Bristol-based songwriter Fenne Lily for a while now, and was lucky enough to have a chat with her for a recent feature on The Line Of Best Fit. This is the title track from her 2018 debut album, and I melt a little bit each time I hear it. She’s playing a (sold out) show at The Lexington on 16th Jan, and I’m looking forward to hearing some of the new material that will make up her second album, which is set for release later this year. (KC)

Ethereal UK – ‘Strange World Normal Girl’
This track literally landed in my inbox just before the winter break and I immediately added it to the playlist for the radio show. Just beautiful. (TW)

Asha Gold – ‘Too Good’
Asha Gold who champions self-confidence in R&B influenced electro-pop. Released at the end of last year, ‘Too Good’ is the West London artist’s current single, and it flows with catchy melodies, beats and an infectious chorus. Keep it up Asha. (TW)

Mavi Phoenix – ‘Boys Toys’
I’ve always been a fan of Mavi Phoenix, and had the opportunity to interview them a couple of years back now. I remember how they spoke so eloquently about equality and the importance of queer music in the world. Phoenix has found a home in their new sound and also in the pronoun “he”. This is all about Phoenix being reborn, which is what happens in the accompanying music video to this track ‘Boys Toys’, directed by Elizaveta Porodina, ‘Boys Toys’ is as important as an exploration for Mavi Phoenix’s gender identity, as it is for his artistic work. And on top of all that, it’s an absolute tune. Enjoy. Watch the video for ‘Boys Toys’ here. (TW)

tAngerinecAt – ‘I don’t want to be a white master’
tAngerinecAt are a non-binary duo originally from Ukraine, and now based in London. What an amazing track – the vocals, the heavy electronic based instrumentation, pedals, their self-defined “hurdy-gurdy” loops and those beats! I am so happy I know about this band, and I cannot wait to indoctrinate myself further into their sound. (TW)

Last Eden – ‘Fallen’
If you’re into 8 minute long pieces of obscure electronic drone music (why wouldn’t you be?), then multidisciplinary Irish artist Aileen Wallace – aka Last Eden – is worth a listen. She experiments and improvises with elements of industrial and ambient music to create unusual, captivating soundscapes. Working as both a producer and a sound artist, Wallace uses bespoke DIY microphones, cassette recorders, synthesizers, and an array of equipment from both the analog and digital worlds. Her recent EP Elysian Plain explores the mythology and the journey surrounding death. It’s intense, but definitely intriguing. Listen to the record here. (KC)

Track Of The Day: Post Louis – ‘Descender’

With a wry yet curious instrumental progression, London Art-Rockers Post Louis shuffle their way into groovy ears with their new single ‘Descender’. Teaming dreamy folk guitar riffs with elusive vocals and a sense of reflection,the band host a dejavu-like experience with the title track of their upcoming album. 

“Hold tight to anyone…”, Stephanie Davin’s spiralling vocals echo across a trail of rummaging instruments. It is here where the desperation of ‘Descender’ begins to paint its melancolic display. The story of someone’s emotional survival dances across the entire track, taking shape in lyrics and a floating choir of string instruments.

Midway through the song’s duration, whispy strings, fading vocals and glossy guitar cultivate together resulting in a captivating whirlwind of emotions. The sensitive tension of the mix becomes its own ‘Descender’ and concludes the piece’s inward questions and audacious alt-folk sounds.

Ending in a fluttering dreamscape, ‘Descender’ tucks its listeners into bed with its soft runoff of strings and lullaby whispers.

‘Descender’ is a lively, transformative adventure that showcases the versatility and profoundness of Post Louisapproach to songwriting. And I’m sure the band have a brilliant new experience for their listeners in their anticipated debut album of the same name.

 

Descender, the debut album from Post Louis, is out 28th February.

Jillian Goyeau
@jillybxxn

Introducing Interview: Post Louis

Back in full force after retreating to a remote cottage in Wales, Post Louis have returned with their new single ‘Little Jack’.  Truly unique in what it delivers, it got our attention straight away delivering much more experimental and lyrically darker music than any of their previous offerings. Not being able to get the new single from the angular art-rock quintet out of our ears, we jumped at the chance to have a chat with them.

We caught up with vocalist Stephanie Davin to find out more about their new collection of songs, raising money for Women for Refugee Women and what to expect from their upcoming show at Paper Dress Vintage…

Welcome to Get In Her Ears! Can you tell us a bit about Post Louis and how it all started?
Robbie and I started making music at university. We tried all sorts of formats… From acoustic performances as a pair with a guitar, to working with a string quartet and full band. We even played quite an ambitious show at a student party at 3am with just the two of us on stage making lots of noise with loopers, guitar pedals, synths… We should have known better. Finally, we moved back to London where we’d both grown up, started playing music with friends and began forming the band into something approximating its current state.

Post Louis has just resurfaced with a collection of new songs, can you tell us a bit more about the process of creating these new songs? A mix of retreating to a remote cottage in Wales during the winter, then experimenting further in a Norwegian Church in South London?
Exactly. When Post Louis started it was more of a bedroom project, with Robbie and me writing, recording, experimenting and producing it all at home in quite an isolated way. By the time we wrote this current batch of songs, Post Louis had expanded and had been playing for quite a while as a solid group of five. The songs are designed to expose the playing styles and personalities of each band member, and this came out more and more as we developed them. After the time at the church, we recorded drums and bass live in two intense two-day batches at 123 studios with Brett Shaw, who we’ve worked with before. Then we added all the other parts at the church and in a home studio. At different points in the process we pulled in several mates and other jazz and classical musicians we know. There are lots of incredibly talented friends sprinkled throughout the new songs. And then the final stage was many, many hours of production and mixing. Robbie leads on the instrumentals, I lead on the vocals and then we glue it all together.

Did you intentionally choose to rehearse in a church and what impact do you think that has on the music?
I’d love to say it was intentional and made it somehow more spiritual or substantial. The truth is that we did it out of necessity. Our drummer lives and works at the church and it meant we could use the space for free, something for which we were amazingly grateful. If anything it probably made our sounds a bit drier. The church is incredibly echoey so we had to be careful with delays and reverbs.

We’re loving the new single ‘Little Jack’ at Get In Her Ears HQ, which we’ve played on the radio show. It seems like an incredibly apt and on point song to be releasing now, can you tell us a bit more about the song and what it’s exploring? 
Thank you for playing it! Essentially, ‘Little Jack’ is a character study of someone who lives mainly in their own head. It’s about the pains of loneliness and low confidence, and what happens when these mix with naïve sexual desire. I wanted to hint at the potential for harm or even domination. I have said elsewhere that Little Jack isn’t a monster, but the song is in part about how monsters – or wolves – are made. I believe we need to rethink how we make, force and mould some children into being ‘men’. As you indicate, discussions on these kinds of topics are growing in force in some spaces at the moment. I find it exciting and moving, but am also filled with some trepidation. Feminism gaining prominence often provokes a nasty backlash which I think we need to be ready for. At almost the opposite end of the scale, but also worrying, is co-option.

 

You’ve just played your first of two London shows at Stour Space, how was that?
It was wonderful. I live in Hackney Wick and have spent quite a bit of time at Stour Space. It’s an area that is changing quickly. The people at Stour have run a sort of locals night on Tuesdays for a while. They have pay-what-you-feel dinner and donate the proceeds. We asked for it to go to Women for Refugee Women to mark both International Women’s Day and the hunger strike that had just started at Yarl’s Wood. It felt good to be relaunching the band with a small event in our neighbourhood. A whole bunch of our friends came down to Stour Space and we had a great evening.

Your next gig is at Paper Dress Vintage on 27th April, what can people expect from your live shows?
I’m really proud of our live show. The musicianship is tight and I think you can tell we love doing it. I trust the four of them, which means I feel I can let go on stage. The live show is quite intense as a result. I don’t really do irony or distance (in music or otherwise); it’s full-on communication for 60 minutes or thereabouts.

What’s the rest of 2018 got in store for Post Louis?
Releasing good music, playing good shows and juggling the rest of our lives in the process.

Finally as we’re a new music focused site, are there any other new/upcoming bands or artists you’d suggest we check out?
Our drummer Mattis is part of a project called amini and our guitarist Andy has his own band called milkd – you should check these out. A friend of ours has also just started releasing music as Lokki, we played with him at the Stour Space show – you should also have a listen to his new single.

Huge thanks to Post Louis for answering our questions! 

Catch Post Louis live at Paper Dress Vintage (for Parallel Lines) on 27th April.