PLAYLIST: Christmas 2020

Whether you’re a Christmas music fanatic or a misanthropic seasonal Scrooge, there’s no doubt your approach to Christmas is going to be different in 2020. We can’t wait to get off the Government’s ever-changing carousel of chaos, with its flimsy guidelines and confusing restrictions, but while we’re on it, at least we have a decent festive soundtrack to play us out of this insane fairground ride called 2020.

To the bands, artists and labels we’ve worked alongside – you’re all diamonds and we look forward to working with you again in 2021. Let’s raise a glass to those who managed to release something in 2020, and another for those who had to sit this one out. We love you all, Merry Christmas from the GIHE team. xxx

Take some time to read through our Christmas track choices and make sure you hit play on the Spotify playlist at the end of this post. We’ve also included a few festive gems that are only available on bandcamp/YouTube, so make sure you listen to them too!

Poly Styrene – ‘Black Christmas’
This buoyant sounding festive tune from the one and only Poly Styrene comes with a much needed dose of lyrical realism. Featuring vocals from Poly’s daughter Celeste Bell, ‘Black Christmas’ is an anthem for those who feel uncomfortable celebrating at this time of year, a sentiment that feels more poignant than ever in 2020. (Kate Crudgington)

The Crystal Furs – ‘Drinking Alone At Christmas’
A festive offering from Oregon queer indie-pop band The Crystal Furs, ‘Drinking Alone On Christmas’ sparkles with uplifting shimmering synths, honey-sweet vocals and scuzzy hooks, providing the perfect juxtaposition of twinkling festive cheer with refreshingly honest lyricism. Reflecting on the all-too relatable scenario of “drinking alone on Christmas”, it’s a must for all those ‘Christmas parties’ we’ll be having alone in front of our laptops this season. The band describe the track as a “non-traditional holiday pop tune of drinking, catgirls, and holiday ennui”. (Mari Lane)

Basic Bitches – ‘I Hope Your Holidays Are Fine’
A relatable and cautiously optimistic tune from Brooklyn-based riot grrrls Basic Bitches. The band say this song is about “the general sense of dread and disappointment that accompanies the holiday season once you reach adulthood, when the most you can hope for are big leftovers and small hangovers.” (KC)

The Go! Team – ‘Look Outside (A New Year’s Coming!)’
Taken from Memphis Industries’ Christmas compilation album Lost Christmas, The Go! Team’s ‘Look Outside (A New Year’s Coming)’ flows with the collective’s trademark jangling energy. Fizzing with a twinkling optimism and vibrant, catchy musicality, it’s an instant festive earworm. Of the track, the band explain: “It started life as a loose anti Brexit metaphor – an appeal against small mindedness – to ‘look outside your window’. But the last year has totally changed the meaning. I guess it’s about trying to stay positive when it’s the hardest it’s ever been.” Other artists featuried on Lost Christmas include Rozi Plain, Field Music and The Cornshed Sisters. Buy Lost Christmas here. In aid of Crisis’ Home for All Campaign, £2 from every LP purchase goes to help their work. (ML)

No Doubt – ‘Oi! To The World’
I couldn’t really have a Christmas playlist without this festive punk-pop belter from Gwen and co. (ML)

Dream Nails – ‘Lonely Star’
The gift that keeps on giving, feminist punks Dream Nails and their joyful Christmas single ‘Lonely Star’. The track is dedicated to those who may be feeling isolated or alone at this time of year – especially their LGBTQ fans – and all the money raised from track sales will be donated to The Outside Project, the UK’s first LGBTIQ+ Homeless Shelter. You can buy their track bandcamp now. (KC)

Problem Patterns – ‘Christmas Number One’
The new festive banger from Belfast feminist punks Problem Patterns who we’ve championed many times on GIHE this year. Mari and I are big fans of these grrrls and we’re looking forward to hearing more from them in 2021. (KC)

Charley Stone – ‘Merry Christmas Actually’
A familiar face on the London music scene, featuring in many bands including Salad, Charley Stone has now shared her own Christmas offering. Inspired by “the worst scene from the worst film ever”, ‘Merry Christmas Actually’ flows with jangling hooks and a twinkling sense of romanticism, oozing Stone’s sugar-sweet vocals and a delicate, swirling indie-pop charm. ‘Merry Christmas Actually’ was recorded with Donald Ross Skinner. (ML)

Eurythmics – ‘Winter Wonderland’
Eurythmics’ vocalist Annie Lennox was born on Christmas Day, but she is the musical gift that keeps on giving whatever time of year it is. It’s also the tenth anniversary of her solo Christmas album A Christmas Cornucopia, which is a delightful soundtrack to wrap your presents to. (KC)

The Big Moon – ‘Carol Of The Bells’
London four-piece The Big Moon deliver a splendid version of this classic made famous by the ultimate Christmas film, Home Alone. It makes me wish I had a microwave mac & cheese dinner in front of me, just like Macaulay Culkin does before he smashes Marv’s face in with an iron. (KC)

Rachael Dadd, Rozi Plain, This Is The Kit – ‘We Build Our Houses Well’
Another one taken from Memphis Industries’ Christmas compilation album Lost Christmas, ‘We Build Our Houses Well’ features Rachael Dadd alongside both Rozi Plain and This Is The Kit’s Kate Stables. Flowing with luscious folk-strewn melodies and sweeping glistening harmonies, it’s a beautifully uplifting slice of winter sparkle. Of the song, Dadd explains: “After the isolation of lockdown, it felt natural to write a Christmas song that was basically like a big sonic party, inviting all my friends and collaborators over my whole life to join together. Feeling blessed to have made so many good friends through music and to have most of them all in one place here on this song, representing connection at a time where so many of us feel isolated.” Buy Lost Christmas here. In aid of Crisis’ Home for All Campaign, £2 from every LP purchase goes to help their work. (ML)

Alanis Morissette – ‘Happy Xmas (War Is Over)’
I was supposed to see Alanis Morissette live for the first time this year, but alas, I’ll make do with her cute cover of John Lennon & Yoko Ono’s single instead. (KC)

PINS – ‘Merry Christmas (I Don’t Want To Fight Tonight)’
A festive cover by Manchester trio PINS and a perfect musical accompaniment to drink your festive tipple to. (KC)

Grace Petrie – ‘Fairytale Of New York’
Grace and her band’s take on the Pogues’ classic, this rendition of ‘Fairytale Of New York’ flows with folk-laden strings, soaring harmonies and an up-tempo sense of festive cheer, culminating in the perfect re-writing of that lyric – replacing it with “You scumbag, you maggot, WE LOVE DIANE ABBOTT”. It’s simply impossible not to sing along at the top of your lungs and feel a little bit of hope for what 2021 might bring. (ML)

Girl Ray – ‘I Wish I Were Giving You A Gift This Christmas’
A classic from my faves Girl Ray from back in 2017, ‘I Wish I Were Giving You A Gift This Christmas’ is the perfect smattering of joy we all need right now. With just the right balance of Christmassy sparkle and the band’s trademark shimmering, sunny charm, it’s a song about longing and loneliness at this time of year. Complete with a children’s choir, sleigh bells and even a whinny of a kidnapped reindeer (!), the track is a delightful slice of twinkling garage-pop to get you in the mood for this time of year, when some of us may be struggling to do that right now. (ML)

Gold Baby –Looks Like a Cold, Cold Winter’
A Bing Crosby classic reimagined by indie darlings Gold Baby. All proceeds from this single will be donated to the campaign to end loneliness, so head over the Gold Baby’s bandcamp now and give what you can. (KC)

CMAT, Junior Brother – ‘Uncomfortable Christmas’
Irish pop sensation CMAT is the queen of relatable pop tunes and this Christmas tune is no exception. A beautiful duet with Junior Brother, ‘Uncomfortable Christmas’ is the perfect dose of festive melancholy. (KC)

Self Esteem – ‘All I Want For Christmas Is A Work Email’
A soulful festive anthem from experimental pop artist (and Slow Club member) Rebecca Taylor, aka Self Esteem, ‘All I Want For Christmas Is A Work Email’ is an alternative Christmas bop for any of us who may not look forward to Christmas as much as most. Dedicated to those who may cope with these times of “celebration” by immersing themselves in work as a distraction, Taylor says of the track: “I wanted to write a song for fellow people who cope with life by working and creating and moving forwards – the enforced stillness of Christmas can be so triggering… ” (ML)

Piney Gir / Roxys – ‘White Winter Hymnal’
Piney Gir’s cover of the Fleet Foxes classic contains all the soothing festive sparkle you need right now. Oozing sparkling crystalline vocals and a gentle celestial grace, it’s a truly beautiful rendition of one of my favourite winter soundtracks. Recorded originally for the Joyzine Advent Calendar, ‘White Winter Hymnal’ provides a taste of what’s to come from Piney Gir and Roxys, as they’re currently working on an upcoming new EP, set for release in 2021. (ML)

TLC – ‘Sleigh Ride’
Who doesn’t need a bit of TLC-shaped joy at this time of year?! (ML)

The Pretenders – ‘Have Yourself A Merry Little Christmas’
Originally performed by Judy Garland in the 1944 film Meet Me In St. Louis, I love The Pretenders’ festive version of this classic. Praise be for Chrissie Hynde. (KC)

Dolly Parton – ‘Coming Home For Christmas’
This one’s for Tash! Dolly is the star in the winter sky and we all love her un-shakeable optimism. (KC)

 

These tracks aren’t on Spotify, but they’re too good not to include!

Fightmilk – ‘Healey’s Only Wish (This Christmas)’
Taken from their new festive album, the wonderfully titled Fightmilk & Cookies – a collection of Christmas covers from each of the band members, as well as a couple of seasonal originals – ‘Healey’s Only Wish (This Year)’ provides just the right amount of twinkling cheer along with the band’s trademark tongue-in-cheek wit. Combining scuzzy hooks, Healey’s distinctive vocals and traditional sparkling melodies, it’s an instantly uplifting festive earworm. (ML)

 

Potpourri – ‘Modern Girls’ (not on Spotify)
A festive offering from Sheffield band Potpourri, ‘Modern Girls’ ponders the idealism of a perfect Christmas amid the bounty of priceless love. Propelled by a swirling, sparkling majesty, it oozes a blissful euphoric aura, whilst maintaining a refreshing sense of realism. A perfect and relatable Christmas accompaniment for any of us ‘Modern Girls’. Of the track, songwriter Lauren Dowling reflects: “I guess I was thinking about the modern phenomenon of gift-giving as a language of love, but also as a point of contention. Whilst we’re more inclined to be charitable at this time of year, we also can’t escape our own expectations for grandeur and luxury, but for ‘Modern Girls’, it’s the former that tends to bring the most joy and warmth.” The band will be donating all proceeds from the track to Burngreave Foodbank and SAYiT charities. (ML)

 

Charlotte Carpenter – ‘A Light Christmas’
A festive cover by Charlotte Carpenter who is a previous guest on our GIHE radio show and the founder of Babywoman Records. All proceeds from this single will be donated to homeless charity Crisis UK, so do head over the her bandcamp and download it if you can. (KC)

 

The Joy Formidable – ‘My Beerdrunk Soul Is Sadder Than A Hundred Dead Christmas Trees’
This genuinely is one of my favourite Christmas songs whether it’s been a year like 2020, or the best year of my life. I love busting out this misanthropic anthem and mainlining a bottle of Baileys* to it. (Aldi’s Ballycastle*) (KC)

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:

GIHE: Albums 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 a full length record, 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.

In the absence of live shows where we’d normally celebrate the release of an album, we’ve coped by dancing around our living rooms, miming underneath our face-masks and telling as many people as we can on our Zoom calls to listen to these records. So, in alphabetical order, here are ten albums that helped us get through 2020 (with some honorable mentions at the end because we’re a little bit fed up of restrictions this year…)

Bitch Falcon – Staring At Clocks
Released via Small Pond Records in November, Staring At Clocks is a blistering cacophony of grunge, post-punk and shoegaze inspired sounds from Dublin trio Bitch Falcon. Effortlessly switching from a savage scream to a sublime extended yearning, front woman Lizzie Fitzpatrick’s elastic vocal ability never fails to impress and my admiration for her natural talent swells with each listen. Her intuition is matched by Nigel Kenny’s razor sharp cymbal strikes and Barry O’Sullivan’s brooding bass hooks. Equal parts gritty and graceful, I’m properly in love with Bitch Falcon’s debut album and no, I will not stop talking about it. Listen to Staring At Clocks via bandcamp or Spotify.
(Kate Crudgington – Features Editor)

Bugeye – Ready Steady Bang
A long-standing fave of GIHE, Bugeye have previously wowed us with their vibrant live shows, including performing for us at The Finsbury and at Cro Cro Land, a festival put together by front person Angela Martin in my hometown of Croydon. They’ve also received plenty of acclaim from the likes of Radio X’s John Kennedy and BBC Introducing, and rightly so. Ready Steady Bang is like nothing you’ve heard before; a vibrant fusion of disco, punk and everything in-between, all fused together with magnificent energy into a relentlessly riotous and utterly uplifting collection. This explosive debut fizzles with a wonderfully unique colourful pizazz as the band reflect on the state of the world today. Raging with Angela’s gritty, snarling vocals and whirring electro hooks, alongside crunching riffs and poppy harmonies, each track is a total earworm. Reminiscent of nineties indie legends Elastica, with shades of the retro energy of Blondie, it’s an album oozing a sparkling majesty that’ll charge you up and leave you ready to face whatever 2021 has in store.
Ready Steady Bang is out via Reckless Yes Records, listen on bandcamp or Spotify.
(Mari Lane – Managing Editor)

Dream Wife – So When You Gonna… 
To be honest, I was a little apprehensive about the release of this year’s sophomore Dream Wife album. I had been so completely enamoured by their 2018 eponymous debut that it seemed impossible not to be disappointed, but how wrong I was. So When You Gonna… is both uplifting and poignant in equal measure. From the heartfelt and relatable stirring emotion of album closer and pro-choice anthem ‘After The Rain’ to the immersive inspirational power of ‘Validation’ and fun-filled playful energy and trademark charisma of ‘Hasta La Vista’ and the album’s title track, it proves that Dream Wife are here to stay. With this latest collection, they’ve come back more empowering, passionate and truly joyous than ever.
Listen to So When You Gonna… via bandcamp or Spotify.
(ML)

Gordian Stimm – Your Body In On Itself
I remember thinking “yessss this is a bit of me!” when Gordian Stimm’s (aka Maeve Westall of itoldyouiwouldeatyou) experimental gem of a record first dropped into my GIHE inbox in April. Released via independent Leicester-based label Amateur Pop, Stimm’s debut album is a vivid exploration of bodily autonomy. There’s an enjoyable violence underscoring their vision; a gleeful, sometimes painful dissecting of the self and the social cues that either help construct or dismantle it. At times reminiscent of early Passion Pit or Crystal Castles, Your Body In On Itself is a wonderful collection of distorted, dance-able beats that I continue to enjoy even after multiple listens. The cassette tape is cute af too.
Listen to Your Body In On Itself via bandcamp or Spotify. (KC)

Happy Accidents – Sprawling
Probably my most listened-to full album of 2020, Happy Accidents’ Sprawling follows 2018’s equally addictive Everything But The Here And Now. Since first falling in love with the band back at Indietracks of the same year, I’ve been continually seeking comfort in their sparkling creations. Now a duo made up of Phoebe Cross and Rich Mandell, Happy Accidents have showcased all there is to love about them in this latest collection. An album about “getting out of your head and allowing yourself to connect with others on a fundamental level”, it offers a perfect juxtaposition of honey-sweet vocals, swirling jangling melodies and luscious harmonies, all delivered alongside the heartfelt emotion of the reflective, relatable lyricism, making it impossible not to get utterly immersed in. With Rich and Phoebe taking turns with the lead, each track maintains the glistening warmth and twinkling uplifting charm that first drew me to the band. And now I can’t seem to stop listening; forever seeking soothing catharsis in Happy Accidents’ shimmering, Sprawling indie-pop.
Listen to Sprawling via bandcamp or Spotify.
(ML)

Hilary Woods – Birthmarks
Inspired by field recordings, images from post-war Japanese & wet-plate photography and the secret life of trees, Hilary Woods’ second album Birthmarks is a cohesive set of shadowy soundscapes that smolder with quiet intensity. Released in March via Sacred Bones, the Irish multi-instrumentalist collaborated with Norwegian experimental noise producer Lasse Marhaugher to create a record that was “of the body…a more physical record” than her previous work. She crafted eight fleshy, twisted, charged lullabies that are laced with a mix of hushed vocals, melancholy strings, saxophone sounds, distorted drone noises and Okkyung’s exquisite cello playing. Recorded over the course of two years between Galway and Oslo whilst Woods was heavily pregnant, Birthmarks feels like her most personal and powerful record to date and I’ve thoroughly enjoyed listening to it this year.
Listen to Birthmarks via bandcamp or Spotify. (KC)

Indian Queens – God Is A Woman
Described by lead vocalist & guitarist Jennifer O’Neill as “a late night record”, London trio Indian Queens’ debut album is a sublime offering, designed to dissolve uncertainty and soothe anxious minds. Released via Cool Thing Records in April, the band have written thirteen dizzying tracks that are as driving as they are delicate, providing a welcome rush of blood to the head every time they’re listened to. I love everything about this band and I’m so glad I got to hear them live again in March before the rest of 2020 got cancelled.
Listen to God Is A Woman via bandcamp or Spotify. (KC)

Nova Twins – Who Are The Girls?
Us GIHE grrrls collectively agreed that this is a stunning debut album. Nova Twins’ battle cry for equality and diversity on Who Are The Girls? resonates long after the record stops spinning. Amy Love & Georgia South are a force for fun, for fury and – most importantly – for change in an industry that still “struggles” to book women as headliners at major festivals. This album, released via 333 Wreckords in February, is a collection of thundering bass lines, uncompromising rhythms and wicked riffs. It’s an aural uppercut that proves the London-based duos talent and instinct for writing anarchic anthems. Nova Twins always have us riled, re-energised, and ready to ask for more.
Listen to Who Are The Girls? on Spotify. (KC)

Screaming Toenail – Growth
Having blown us away with the impassioned magnificence of their live show at The Finsbury last December, anti-colonial queer punks Screaming Toenail have become firm favourites here at GIHE, and their message is more resonant now than ever before. Opening with a jarring recording of reports of trafficking migrants and “swarms” of refugees coming across the Mediterranean seeking a better life, Growth starts as it means to go on: honest, politically charged and utterly necessary. Combining shades of ‘80s post-punk with the band’s raw magnetism and angst driven drive, the album covers poignant subject matter, ranging from institutionalised racism and damaging hetero-patriarchal norms, to “little old ladies shoplifting from Boots” and other inspiring female figures such as Diane Abbott and Reni Eddo-Lodge. Growth is truly a soundtrack to our times. Fuelled by a motivational cathartic rage, it starkly reminds us that on returning to “normality”, we need to create a new normal. One in which voices like Screaming Toenail’s can be amplified to the max; one in which we prioritise creating safe, queer, inter-sectional communities and spaces for people to share their art together.
Listen to Growth via bandcamp or Spotify.
(ML)

Sink Ya Teeth – Two
Long time GIHE faves who first completely took our breath away playing for us live at The Finsbury a few years back, Norwich duo Sink Ya Teeth brought some groove-laden joy to this nightmare year with their second album, appropriately titled Two. Having been booked to play our very first Get In Her Ears festival that would have taken place this summer, being able to listen to all the unique dance-punk soundscapes throughout this album offered a bit of consolation. Blowing us away with the soaring, sparkling majesty of each track, they continue to mark themselves out as truly innovative in their craft. From the synth driven glitchy hooks of ‘Somewhere Else’ to the immense funk-fuelled groove of ‘The Hot House’, everything the duo create oozes an infectious shimmering energy, showcasing Maria Uzor and Gemma Cullingford as the ultimate dream team in both songwriting and performing.
Listen to Two via bandcamp or Spotify.
(ML)

Honorable mentions:
A.A. Williams Forever Blue
Ailbhe ReddyPersonal History
ByenaryByenary
The Crystal FursBeautiful and True
Diet CigDo You Wonder About Me?
Dream NailsDream Nails
Lido PimientaMiss Colombia
MOURN – Self Worth
Nadine ShahKitchen Sink
No HomeFucking Hell
Phoebe BridgersPunisher
REWSWarriors
WaxahatcheeSaint Cloud
The Fight Is Not Over (Live album feat. Problem Patterns, Sister Ghost, Strange New Places, Gender Chores)

Get In Her Ears w/ Problem Patterns 01.10.20

Tash & Kate were back in the Hoxton Radio studio this week with loads of fresh new tunes (and a few throwbacks) from women in music. Kate caught up with Belfast-based feminist punks Problem Patterns via Zoom to talk about how they first got together, and their latest track ‘TERFs Out’ which features on a new compilation album of Irish artists called A Litany Of Failures: Vol. III.

Tash also treated listeners to a snippet of her recent interview with Skin from Skunk Anansie!

Listen back:

Tracklist
Joan Armatrading – Love and Affection
Babeheaven – Cassette Beat
Couch Prints – Faces
Bitch Falcon – Martyr
REYKO – The Game
Kenichi & The Sun – Splendour
Candy Lane – Summer Heavy Nights
Jelly Cleaver ft. A-Mens – Can’t Stop The Love
Landshapes – The Ring
**Skin from Skunk Anansie – Interview teaser**
Skunk Anansie – Weak
Madame So – Who Are We To Judge?
Burning Pools – Bang Bang
Twist Helix – Vultures
Problem Patterns – TERFs Out
**Problem Patterns Interview**
Rising Damp – Cannibal
Halina Rice – Spheres
Bree Runway – Little Nokia
Blonde Maze – To The Moon
R3HAB and Nina Nesbitt – Family Values
Arlo Parks – Hurt
Ailbhe Reddy – Between Your Teeth
Ms Dynamite – Dy-Na-Mi-Tee