LISTEN: GIHE on Soho Radio – Teenage Dreams 24.08.22

Tash, Kate and Mari were all physically in the Soho Radio studio together for the first time EVER for this month’s Get In Her Ears New Music show! They played an eclectic mix of tracks from some of their favourite female, non-binary and LGBTQIA+ artists.

The team also took some time to reminisce about the tunes that helped them through their formative years in their special #TeenageDreams section at the end of the show. Kate opted for pure angst with a classic Avril Lavigne anthem, Mari was raging away to The Distillers in her local rock club, and Tash was very busy pretending to understand the full context of Alanis Morissette’s ‘You Oughta Know’ at the tender age of twelve.

Listen back below:

 

Tracklist
Garbage – Cherry Lips (Go Go Baby)
Connie Constance – Till The World’s Awake
Victoria Canal – Swan Song
Beckie Margaret – August Nights
Mannequin Death Squad – Super Mental Psycho
BRUTUS – Liar
Halina Rice – Helix
Nameless Twin – My Eyes Went Black
Midnight Ambulance – Smoke and Sweets
A.A. Williams – Golden
Big Joanie – In My Arms
Electric Pets – That Way
Femegades – Daddy Says
Jadu Heart – Cocoon
070 Shake – Skin & Bones
Seraphina Simone – Milk Teeth
LOLAWOLF – Whole House
Midwife – Enemy
Obli – Hei
AGAAMA – Sarehole Mill
Gemma Laurence – Lavender
Sophie Jamieson – Sink
Fruity – BT9
Kindred Fawn – Neon World
**Teenage Dreams Section**
Avril Lavigne – Losing Grip
The Joy Formidable – The Greatest Light Is The Greatest Shade
Sheryl Crow – If It Makes You Happy
The Distillers – City Of Angels
All Saints – Never Ever
Alanis Morissette – You Oughta Know
Olivia Newton John – Hopelessly Devoted

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Track Of The Day: Chorusgirl – ‘Don’t Go Back to ’89’

Having announced the much-anticipated (by me in particular!) release of her third album this Autumn, Silvi Wersing – aka Chorusgirl – has now shared her first new single in a few years, and I couldn’t be happier about it. Following their self-titled debut album in 2015, and 2018’s perfectly titled follow-up Shimmer and Spin, this new offering could not be more welcome.

Flowing with a majestic, swirling grace, ‘Don’t Go Back To ’89‘ poignantly reflects on feelings of nostalgia and hopelessness. Propelled by a shimmering splendour and glistening celestial charm, it’s a beautiful slice of jangly dream-pop, sparkling with a glowing summer haze, whilst tinged with stirring undertones of darkness. With a scuzzy, whirring energy reminiscent of the lilting allure of early ’90s shoegaze/post-punk such as Cocteau Twins or Pixies, it’s a perfectly captivating immersive introspection for anyone in need of some calming aural therapy.

Of the track, Silvi explains:

“Thematically, it riffs off the following idea: what if you could travel back in time in order to save a loved one? What if you’d have to do this over and over and over again, because it turns out that that person cannot be saved? What if you still can’t stop trying again and again though, and end up stuck in a never-ending loop?”

I must admit, I’ve felt quite emotional hearing Silvi’s voice again, with Chorusgirl’s previous two albums having provided so much comfort to me in the past. What she’s able to create is just utterly unique; a soothing amalgamation of influences resulting in truly blissful soundscapes.

Mixing Super 8 footage of a dancer with images of Silvi with a psychedelic, kaleidoscopic allure, watch the Busby Berkeley-inspired new video for ‘Don’t Go Back To ’89’ here:

Colapso Calypso, the upcoming third album from Chorusgirl, is set for release on 14th October.

Mari Lane
@marimindles

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Track Of The Day: Stud Count – ‘Give Me Time’

Pairing their signature light, catchy vocals with a heavier sound beneath, Philadelphia band Stud Count’s latest single ‘Give Me Time‘ examines – in their words – the “emptiness of surface level friendships”. The frustrations of such a situation are reflected in the music from the very first bars: the drums and guitars blend into a high-energy roar that echoes the sheer depth of emotion inevitable when you’re confronted by a noticeable lack of depth in your relationships.

The simplicity of the lyrics captures those moments of realisation incredibly well. It quite bluntly calls out the superficiality of the connection early on with the lines “There’s not a lot goin’ on here / Baby, that’s the truth”, in a way that it’s often not easy to call out when “right now you feel fine”. There is weight to the vocals that, despite Norelle Green’s naturally bright and upbeat tone, feels almost resigned to the disappointment of the situation. The lyrics are weighted by the sense of reluctant acceptance you need to reach before you can vocalise the dissatisfaction of a shallow, unfulfilling friendship. This complements the rage in the music itself wonderfully. The aggressive thud of the drums and the scream of the guitars throughout the track reflect everything that comes before and beneath that acceptance – the pain, the disappointment and the loss. The music is fuelled by a driving post-punk energy, reflecting all those feelings you have to process to get to the moment of acceptance.

The track ramps up and reaches its peak with an immense, howling guitar solo; it feels like the frustration has finally reached breaking point and bursts out in a scream of riotous strings, before winding back into the final verse.

The bouncy vocals make this song catchy and upbeat in a way that doesn’t detract at all from the rich, gritty power of the instruments beneath. It blends the raw energy from different stages of a long emotional process in a way that encapsulates the whole in a few short but expertly crafted minutes.

‘Give Me Time’ is out now. The eponymous debut album from Stud Count is set for release on 22nd July via Smartpunk Records.

Kirstie Summers
@ActuallyKurt

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ALBUM: Horsegirl – ‘Versions Of Modern Performance’

With their debut album, Versions of Modern Performance, Horsegirl have translated the world of underground underage Chicago into 30 minutes of sludgy jubilation. Thudding drums, strangled guitar lines and catchy choruses: it’s a time-honoured formula, executed here with vigour and original flair.

The band produced this record as college freshmen and high school seniors and it is bursting with a fine balance of youthful exuberance and nuance beyond their years. Within a tight instrumental framework, the group explore a range of emphases and styles, from the more straightforward guitar pop of tunes like ‘Anti-Glory’ to textural instrumental interludes and the unusually weighted ‘Fall of Horsegirl’, in which the guitar foregrounds the vocal line.

The integrity of the artistic scene from which Horsegirl have emerged defines the sound, attitude and presentation of this music. The group are keen to champion the work of the network of fellow creatives too young to get into most concerts going on in Chicago and forced to organise shows and create among themselves. Their videos employ the talents of friends and peers who put their directorial and kitchen dancing skills to use in assertively homemade productions (check out the video for ‘Billy’). There is an infectious DIY enthusiasm in everything this band does, and this reverberates through Versions Of Modern Performance.

Undaunted by the transition from high school band to signees with heavyweight indie label Matador, the group have made a deliberate effort to remain faithful to the simple setup that has taken them this far. Describing this self-consciously as “the debut bare-bones album”, they bring the sound of their various basement rehearsal rooms to the studio. The choice of John Agnello as producer suits this aim to be true to the band’s roots, given that his CV, which includes Dinosaur Jr. and The Breeders, reads like a list of the influences you can hear working throughout the record.

Though this record takes many cues from the sound and approach of much of that American brand of alt rock that has been around since the mid-80s, the group make this sound their own. It feels like the natural outcome of three imaginative rock musicians playing in someone’s basement; an honest, instinctive debut free from contrived affectations.

Listen to Versions Of Modern Performance on bandcamp or Spotify

Follow Horsegirl on Twitter, Instagram & Facebook

Photo Credit: Cheryl Dunn

Lloyd Bolton
@franklloydwleft
@lloyd_bolton

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