GIHE: Ones To Watch 2024

It’s fair to say that 2023 has been a tough one, but if there’s one positive to take away, it’s the immense amount of incredible new music that’s been released, and the hope of even more wonderful offerings from new bands in 2024.

Following our Tracks Of 2023, Albums and EPS of 2023 and Highlights of 2023 features, we’re now sharing our Ones To Watch for 2024 – naming a handful of bands and artists who have impressed us and that we predict will be reaching ears far and wide next year. Have a read of our choices and make sure you give them all a follow to keep track of their achievements over the next twelve months.

Dogviolet
The latest project of London DIY scene queens Naz and Ella, Dogviolet are already fast becoming a staple on any decent female/queer focused line-up in the capital. I had the honour of hosting the band’s first ever gig last summer, and since then they’ve been winning over crowds with their captivating grunge-fuelled post-punk. Returning to play for us this November at a sold out Sebright Arms to support Problem Patterns, it was wonderful to see how they’ve really honed their sound and built in confidence on stage; with their now established line-up of Brodie joining them on bass and Lauren on drums, they exude a subtle spellbinding power and gritty immersive energy, marking them out as truly unique. It’s easy to see why bands like Heartworms, The Wedding Present and folk legend Grace Petrie have been keen to share stages with them lately, and they have some exciting announcements in the pipeline for 2024. I can’t wait. Find out more about Dogviolet here.
(Mari Lane – GIHE Co-Founder)

 

ALT BLK ERA
Watching genre-defying sister duo ALT BLK ERA supporting STRAIGHT GIRL at our GIHE gig at The Shacklewell Arms earlier this year proved to me that the future is bright for alternative music. Taking cues from an eclectic range of artists – Ashnikko, Hacktivist, The Prodigy and Billie Eilish and Nova Twins to name a few – together, teenage siblings Nyrobi and Chaya  blur the boundaries of pop punk, nu-metal, rap and electronic music to form their riotous sounds. By combining jagged electronics, heavy riffs and racing beats with raging lyrics, the pair have created an alternative statement of self autonomy on their debut EP, Freak Show, which perfectly showcases their antagonistic, youthful spirit. They’ll be playing at The Hootananny in Brixton on 6th March, before heading to Download Festival next year. 2024 looks set to be a big year for them, so catch them while you can. Check out our recent interview with ALT BLK ERA here. Find out more about ALT BLK ERA here. (Kate Crudgington – GIHE Co-Founder)

 

Sheherazaad
One of my favourite new discoveries of 2023, Brooklyn based artist Sheherazaad left me completely spellbound with her debut single ‘Mashoor’ (so much so that it was one of my tracks of the year…) Reflecting on her South Asian sonic lineage, it draws on themes of displacement and nostalgia with a contemporary, genre-defying spirit, immersing you in its exquisite rippling allure on first listen. Produced by Arooj Aftab and released via renowned label Erased Tapes, this first offering from Sheherazaad showcases all there is to love about the innovative artist; a creator of intricate beauty, not afraid to share her values about what matters most. And, having already received acclaim from the likes of Pitchfork and The New York Times, I’m quite certain listeners the world over will be falling in love with her unique soundscapes throughout 2024. Find out more about Sheherazaad here.(ML)

House Of Women
2023 was a big year for Hackney-based alt-rock trio House Of Women. The band performed alongside Coach Party and Bedroom High Club at London’s Omeara at the end of the year, and they played knockout sets at All Points East and 2000 Trees festivals in the summer too. Perhaps most impressively though, they self-released their debut EP, People Printing, in November, cementing their status as a band with a compelling sound and truly exciting potential. 2024 looks set to be another big year for Elsa Malazogu (guitar), Poppy Miller (guitar) and Kyla Lanai (vocals, piano) and I’m looking forward to seeing what they do next. Check out our recent interview with House Of Women here. Find out more about House Of Women here. (KC)

CHERYM
Since first falling in love with 2021 single ‘Listening To My Head’, I’ve been following Derry band Cherym, addicted to their empowering, nostalgia-tinged punk-pop. And, having been lucky enough to catch them live both here in London and across the pond in Belfast, I’ve become convinced that their perfect blend of uplifting honey-sweet allure and gritty riotous energy is headed for big things… Another band signed to the best of labels, Alcopop! Records, they’ve had an exciting 2023 sharing stages with the likes of The Beths and GIHE faves ARXX, spendin the summer playing festivals such as Truck and Rebellion, and even ventured to Austin for SXSW. Now, with their debut full length album on the way in February, followed by a European tour (including dates supporting Enter Shikari), I have a feeling that my convictions will be proved right; 2024 is going to be a big year for the Northern Irish trio. Find out more about Cherym here. (ML)

Pixie Cut Rhythm Orchestra
Watching Pixie Cut Rhythm Orchestra’s vocalist Sarah Deegan perform traditional Celtic song ‘Amhrán na hÉascainne’ (The Song Of The Eel’) at the band’s debut London headline gig for GIHE at The Shacklewell Arms was a cell-altering experience that Mari and I will never forget. Her effortlessly urgent vocals were totally captivating, and alongside her band mates (including the ultra cool Julie from HAVVK), she treated us to a set full of deeply poetic, melancholy shoegaze sounds. I’m grateful to Irish artist Constance Keane aka Fears for introducing me to the Dublin band a few years ago. If you get the chance to see Pixie Cut Rhythm Orchestra live, please take it. Find out more about Pixie Cut Rhythm Orchestra here. (KC)

Vyva Melinkolya
Angel Diaz aka Vyva Melinkolya is responsible for some of my favourite music from the past year. She worked alongside Midwife on their collaborative EP, Orbweaving, a moving rumination on healing from, and enduring pain, plus, she released her second album, Unbecoming, which features contributions from Midwife and the inimitable Ethel Cain. Her hazy, heavy shoegaze is perfectly complemented by her magnetic, far-off vocals. Listening to her music is a dreamy, disorientating experience. I’m hoping to catch her live at some point in 2024. Find out more about Vyva Melinkolya here.


Despite our apprehensions about 2024, at least we’re heading into the new year with some fantastic music to accompany it! Massive thanks to all who’ve supported GIHE throughout 2023, it really means the world. And huge thanks to all the amazing bands and artists who’ve soundtracked it, and who will continue to soundtrack 2024!

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Video Premiere: pink suits – ‘Refuse The Rules’

If you’re at all familiar with pink suits, you’ll recognise their unique energy in every element of their new music video for ‘Refuse The Rules‘, the first taste we’ve had of their upcoming second album, Dystopian Hellscape. The whole video drips with their signature style and unapologetic passion.

The video takes place entirely within a two cubicle toilet, wallpapered with newspaper pages. The logos of The S*n and Metro (owned by The Daily Mail Group) leap out at you. An article about gender self-ID “fears” is placed right in the centre of the shot. Before the music even begins, you’re presented with instant commentary about the quality of contemporary journalism – rampant media bias and the painfully uncritical approach to publishing political agendas in the modern press.

‘Refuse The Rules’ is not a long or complicated song. It hones in on its point perfectly. Boiling down the tiresomely endless hours of identity debate into a concise song that barely breaks 100 seconds in length, it is short and sharp, instantly cementing pink suits as expert creators of today’s punk anthems.

With just the opening line – “Our existence doesn’t threaten your existence” – the song immediately highlights the most draining elements of the whole debate. It calls out the hypocrisy of anyone actively threatening another person over their identity, which wouldn’t have any impact at all on other people’s lives if they didn’t choose to stick their oar in. At a time when human lives are under threat every day from war / climate change / poverty / homelessness, even in the wealthiest countries on the planet, this track points out just how ridiculous it is to waste your energy being bigoted. 

The delivery of every line is sharp and urgent, a scream that evokes all the pain, frustration and fear underlying the song’s message, roared over a foundation of aggressive drums and shrieking guitar riffs. The track is packed with earworms that capture the rage effortlessly.

Despite the darkness that necessitates this kind of commentary, ‘Refuse The Rules’ is ultimately uplifting in its defiance – “We refuse the rules. We refuse to bow.” It’s a rejection of conformity and of the hypocrisy of those who manage to conveniently ignore all the real problems in this dystopian hellscape of the modern world to take issue with another human being’s self expression. It’s a riotous call to action for anyone who needs a little extra motivation to embrace their true selves. 

Completely created by pink suits themselves, this new video captures the raging energy of ‘Refuse The Rules’ perfectly. Watch, for the first time, here:

Produced by Halo Halo studio in Margate, ‘Refuse The Rules’ is out now, ahead of pink suits’ second album – Dystopian Hellscape – which is set for release in Spring 2024. But keep you ears and eyes peeled for more teasers in the meantime!

Kirstie Summers
@ActuallyKurt

Photo Credit: Stephen Daly Photography / @stephendalyphotography

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Five Favourites: Supersaurus

Self described “non-binary fronted indie-pop girl band”, London-based Supersaurus’ influences range from MUNA to The 1975, and with acclaim from the likes of BBC Radio 1 and BBC Introducing, they’re really starting to hone their place as esteemed creators of sad-pop bangers. Reflecting on queer love and being part of the LGBTQ+ community, latest single ‘Let U Down‘ offers a swirling electro-pop energy as it soars with instantly catchy singalong refrains and a shimmering emotion-strewn splendour.

We think one of the best ways to get to know a band is by asking what music inspires them. So, to celebrate ‘Let U Down’, we caught up with each member of Supersaurus to ask about the music that has inspired them the most. So, read about their favourite albums – there’s four of them, so actually only four choices this time, but we’ll let them off! Have a read and make sure you take a listen to ‘Let U Down’ now!

Tayla’s Pick:

Pale Waves – Unwanted
There’s actually so many albums that I could choose from for so many different reasons either because they have a personal nostalgic meaning to me and/or they’re just purely no skip albums for me. But if I was to pick one at this very moment in time I’d have to go with Pale Waves – Unwanted. I’ve been a fan of their music for a while, ever since I first heard ‘Change’ a while back and then recently just suddenly had the urge to binge listen to all their stuff again after seeing them at Truck Festival. When I get obsessed with a song or an album trust me, that’s going to be on repeat for a good few weeks at least and the songs on this album really made me feel a lot, which is mainly what I look for. Don’t get me wrong, I love lyrics and all that but for me to really be obsessed with a song it’s got to make me feel a certain kind of way – and this album does just that. If I’d have to pick a favourite off the album I’d probably go with either ‘Lies’, purely for the insane amount of energy and the cool guitar riff, or ‘Reasons To Live’, which – ironically after saying that the lyrics aren’t the main reason that draws me into a song – the lyrics for this one did just that. An all round banger album for me – plus they’re sick live, which makes listening to their stuff even better.

Lauren’s Pick:

Kings Of Leon – Come Around Sundown
Come Around Sundown is an album I’ve come back to again and again since I was about 17. I never get tired of listening to it from start to finish, and it remains one of the select few albums I keep in my car. Originally, it had this new feeling of reflection that Kings Of Leon managed to write into their songs, a sense that you’ve been here before even though you’ve never heard it. Now it’s got the added nostalgia of driving around town with college mates (as well as many other KoL albums). I was introduced to the album by an old band mate, and I remember us being amazed at the ending of ‘The End’ – the beautiful, almost mystical keys that seem never ending but a perfect fit. Musically, the album has influenced my drumming to be more creative, following rhythms of different band members more than just the bass. It’s also a great lesson in playing what is necessary for the song. Some of the tracks on the album have huge choruses, but Nathan never goes over the top. 

Bec’s Pick:

Caroline Polachek – Desire, I Want To Turn Into You
I have a strong attachment to this album, mainly because of the way I felt when I first heard it. I was hooked, instantly. It was kind of fated to be a pretty significant album for me. The day it was released (Valentine’s Day), I was driving back from a weekend in Wales with my girlfriend to watch Caroline perform; the weather was pretty shocking but kind of added to the atmospherics of the album, and I was about eight songs deep when I realised that I could listen to this album, on repeat, forever. ‘Blood and Butter’ started and, if I am being honest, I was shook to my very core – bagpipes! She had only gone and done it. From that point on, it became my favourite album. Accidentally, Caroline has ended being my most seen live act, she was my last gig before lock down and the first one out of it. And, with each iteration, she has added more to her live show; this last time watching her with a full live band really brought this album to life. The opening track from the album, ‘Welcome To My Island’, exploded to life with loud guitars and thumping drums, and I just beamed… This is what music is all about. The past few years I’ve really been getting into more electronic indie pop music, and this album still uses a lot of live instruments, including guitars. Which for me is key – live is king. This album is full of incredible left of centre pop moments which lean into catchy hooks without being cheap. ‘Bunny Is A Rider’ is a perfect example of not taking yourself too seriously, but landing the finish. Dido, Grimes, and Bagpipes. Sold.

Benji’s Pick: 

Jimmy Eat World – Clarity
I kinda can’t not pick Clarity by Jimmy Eat World. It’s the only album that can make me sad and happy at the same time. It’s a weird one, because it’s my favourite album but I really don’t listen to it very often; it makes me feel too much, and I could do without that! But it’s a masterpiece, more albums should open with a ballad. It was either this or Three Cheers For Sweet Revenge by My Chemical Romance, but I think Clarity has the edge.

Massive thanks to Supersaurus for talking about their favourite albums with us!

‘Let U Down’ is out now, and we can’t wait to hear more from this lot!

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LISTEN: tall child – ‘Damaged’

tall child, formerly known as ZHA Gandhi and previously associated with projects like Buggs and Luce Rushton (fka TV Room), has now released their debut single ‘Damaged‘. With a full band now in tow, tall child is making a name for themselves in London, having played headline shows at iconic grassroots venues like The George Tavern and supporting artists like Bel Cobain at Matchstick Piehouse.

Their soulful vocals enter straight away and are then accompanied by dreamy ripples of clean electric guitar, whilst the haunting and captivating melody immerses your ears straight away. Bringing to mind artists such as Orla Gartland and Lucy Dacus, with the ethereal shades of Mitski, their vocals shine through with a subtle soulfulness.

Soon, a lush harmony enters with a folk-strewn depth and gentle jazzy drum beat, adding a pleasing rhythmic layer and progressing the song. With melancholic undertones, the vocals shimmer with emotion complemented by delicately plucked guitar – “maybe I should count my blessings ‘cos I’m not like you, I’m nothing like you”. The song is an “introspective exploration of a turbulent parent-child relationship”, reflecting on the idea that they are glad to have not inherited the toxic traits from their absent parent. A beautifully cathartic ballad, flowing with stirring emotion.

Of their songwriting, Zha notes:

“For me, this project is about pushing the boundaries of songwriting through the analysis of personal trauma and reflection. I wanted to create a space that merges all my musical influences into one to form a truly unique sound. I’m hoping that someone with a troubled relationship with a family member can relate to this song and that it reminds them of their autonomy...”

The song builds up in energy before being brought down for the bridge, offering a slower breakdown and some time for reflection. Awash with glistening harmonies, delicate cymbals and layered voices, it’s emotive but uplifting; an acceptance. It builds gradually but brilliantly before reaching a climax and ending back on a gentle chord. ‘Damaged’ really takes you on a journey and at a lengthy five minutes, it manages to hold your attention throughout its subtle twists and turns, with a heartfelt honesty.

As for what’s next, tall child will be playing more gigs – “taking up space as a queer black artist” – and further developing and carving out their original style. A single release listening party show followed by an upcoming EP is soon to be announced, so keep your eyes peeled! 

Ella Patenall
@ella_patenall

Photo Credit: Jody Evans

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