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 Reddy – Personal History
Byenary – Byenary
The Crystal Furs – Beautiful and True
Diet Cig – Do You Wonder About Me?
Dream Nails – Dream Nails
Lido Pimienta – Miss Colombia
MOURN – Self Worth
Nadine Shah – Kitchen Sink
No Home – Fucking Hell
Phoebe Bridgers – Punisher
REWS – Warriors
Waxahatchee – Saint Cloud
The Fight Is Not Over (Live album feat. Problem Patterns, Sister Ghost, Strange New Places, Gender Chores)

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Decolonise Fest Moves Online For Week-Long Series Of Events

Established in 2017, Decolonise Fest is an annual non-profit DIY festival, collectively organised by, and dedicated to promoting, punx of colour; something we fully support here at Get In Her Ears. This year, as with most large events in this current situation, they’ve been forced to cancel and so have moved online to create a Covid-friendly version of the festival.

This week, from the 1st to 6th September, they will be hosting a series of workshops, panel events and performances.

Workshops will include a Shadow Sistxrs Fight Club workshop involving tantric breathwork, self-care and martial arts, as well as a workshop on Black and Brown queer world building led by Screaming Toenail vocalist and celebrated artist Jacob V Joyce. They will also host a panel on Global Punx of Colour featuring punks from around the world talking about their local scenes and communities.

In addition to these super insightful workshops, live performances will come from New Orleans no wave glam punks Special Interest, anti-colonial Kenyan punk band Crystal Axis, “South Asian” “American” “Punks” (est. 2006) The Kominas, London-based alt-americana act DeLila Black, electronic synth punk artist PRNCSS and post-punk Netherlands-based act Lifeless Past.

Tickets are free, but donations encouraged. Find more information about tickets and the festival here.

In the absence of any ‘proper’ indoor events at the moment, this online extravaganza from Decolonise Fest sounds too good to miss! We feel that organisations like Decolonise Fest are vital right now; creating spaces that advocate for emerging artists of colour, foster a community of like-minded people, connect punx of colour to global struggles against the legacy of colonialism and indulge in a love of punk together.

Full online Decolonise Fest schedule below:

Tuesday 1st September

Shadow Sistxrs presents: Entering into the Serpent: Dialoguing with Kali

Clem leads us through a journey of Tantric breathwork, bringing us into contact with the Goddess of Revolution, our Divine Mother, Kali. Monique will then teach a few simple martial arts techniques that will allow us to physically embody the principles of power, protection and pleasure.

Wednesday 2nd September

Black and Brown Queer World Building

Join Jacob V Joyce for a workshop mapping the future through collaborative poetry and writing exercises. This workshop draws on speculative fiction writing techniques to facilitate collaborative envisioning of a queer decolonial future.

Thursday 3rd September

Crystal Axis + The Kominas + DeLila Black

Join us for sessions from:

Crystal Axis: Anti-colonial Kenyan punk band

The Kominas: “South Asian” “American” “Punks” (est. 2006)

DeLila Black: London-based alt-americana act

Friday 4th September

Special Interest + Lifeless Past + PRNCSS

Join us for sessions from:

Special Interest: New Orleans no wave glam punks

Lifeless Past: Post-punk Netherlands-based act

PRNCSS: Electronic synth punk artist based in London

Sunday 6th September

Global Punx of Colour Panel

Join Decolonise Fest for a panel event with punx of colour around the world discussing their local scenes, how punk relates to their identity, how BLM has affected their activism and scene and how to create a global punx of colour community.

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PLAYLIST: August 2020

Whether you’ve miraculously managed to organise a holiday this summer, or you’re playing it safe and staying put post-lockdown, let our August playlist transport you somewhere you’d rather be for a short while. It’s filled with some dream-pop gems, shadowy electronics and the usual dose of indie & punk guitar tunes. 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.

Circe – ‘Ten Girls’
London based dark-pop artist Circe’s latest single is inspired by one of my favourite books, The Handmaid’s Tale by Margaret Atwood. 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.” (Kate Crudgington)

Kynsy – ‘Cold Blue Light’
Mari & I were equally as excited about Kynsy when we first heard her debut single ‘Cold Blue Light’. Based in Dublin, Kynsy takes down bullies and naysayers on this track with her sardonic lyrics and glitchy beats. (KC)

Talking Violet – ‘Indigo’
The new single from Canadian band Talking Violet, and their first 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. (Mari Lane)

Babeheaven – ‘Cassette Beat’
This dreamy new offering from West-London duo Babeheaven is lifted from their debut album, Home For Now, which is set for release on 6th November via AWAL. Of this track, vocalist Nancy Anderson explains: “I wanted to write a song about creation. Whenever we create we subsequently end up destroying something in a huge way or a small way. But there is always light behind the dark even when you can’t see it yet. It’s also a comment on media, how we ingest it at an unhealthy rate. I didn’t want it to be too negative so I wrote the chorus as a relief from the darkness of the verses.” Dreamy stuff, looking forward to hearing the full album. (KC)

Evil House Party – ‘Wicked’
Released via Third Coming Records, I’m a bit obsessed with Evil House Party’s debut single. ‘Wicked’ is a “modern murderous ballad, fleshed out in a bittersweet revenge pop anthem.” Very Bonnie-and-Clyde-esque. (KC)

Winter Gardens – ‘Tapestry’
The latest single from Brighton band Winter Gardens, ‘Tapestry’ oozes a euphoric ethereal haze as twinkling, shoegaze-inspired hooks whir alongside the soaring vocals of front person Ananda. Flowing with a rich anthemic emotion, it’s an utterly captivating slice of other worldly dream-punk. Tapestry, the debut EP from Winter Gardens, is set for release on 25th September. (ML)

Arlo Parks – ‘Creep’
Having already fallen head over heels with the utterly spellbinding sounds of Arlo Parks from hearing singles ‘Black Dog’ and ‘Eugene’ getting plenty of airplay on BBC 6Music, discovering that she’d covered Radiohead’s seminal ‘Creep’ did indeed feel so very special… With a delicate emotion-strewn splendour, Parks adds her own unique majestic grace to the original. A stripped back, and truly captivating, rendition that will tug at even the toughest of heartstrings. (ML)

Ailbhe Reddy – ‘Between Your Teeth’ 
A tentative rumination on the struggle to communicate your true feelings when in a relationship, Ailbhe Reddy’s latest single blends soft vocals with atmospheric guitars to help overcome feelings of frustration and sadness. ‘Between Your Teeth’ is lifted from her debut album Personal History, which is set for release on 2nd October via Friends of the Family. (KC)

New Pagans – ‘Yellow Room’
I love it when my feminist literature & new music worlds collide! Belfast-based New Pagans’ latest single ‘Yellow Room’ is inspired by the semi-autobiographical short-story The Yellow Wallpaper, written by American feminist author Charlotte Perkins Gilman. The band have penned the track to highlight the need for a specialised parent-and-baby mental health unit in Northern Ireland. They’re challenging and updating the narrative around women’s mental health, and they’ve crafted a catchy, energetic post-punk tune in the process. (KC)

Belako – ‘Truth’
The latest single from Spanish faves Belako, ‘Truth’ reflects on the reality of romance often being weaponized and used to exploit us. With  its scuzzy racing riffs and the raw, swooning vocals of front person Cristina Lizarraga, it offers a snappy blast of post-punk energy. Plastic Drama, the upcoming album from Belako, is out 28th August via BMG. (ML)

Screaming Toenail – ‘IOU’
Oozing a seething energy as a whirring tension builds with jangling hooks, Screaming Toenail’s ‘IOU’ asserts that we are worth so much more than our wages, and that we don’t owe our bosses, landlords, or this racist government, anything. Propelled by an impassioned cathartic rage and swirling magnetism, its raw, angst-driven power immerses the listener in its striking, empowering message. As front person Jacob repeats the refrain “I owe you nothing” with a fierce intensity, you’re left – fists-clenched – ready to come together in solidarity and rise up against the forces seeking to oppress us. ‘I.O.U’ is taken from Screaming Toenail’s immense new album, Growth, which is out now via Hell Hath No Fury Records. Buy now on Bandcamp. I tried to word just how important a collection it is in this full review. (ML)

Mothercanyouhearme – ‘Knowing You’
The latest single from London duo Rosie Krause and Georgia Mancey – aka Mothercanyouhearme – ‘Knowing You’ oozes an uplifting jangly scuzz and catchy sunny hooks. With a subtle gritty angst, it’s a perfect slice of emo-tinged indie-pop with shades of faves Diet Cig or Partner. ‘Knowing You’ is taken from Mothercanyouhearme’s upcoming new EP People². It’s a completely DIY release, produced by Rosie and with all artwork by Georgia, with an accompanying handmade zine wonderfully entitled ‘Maga Can You Zine Me’ – celebrating a number of female creatives and raising awareness to create safe spaces for queer identifying women and allies within music. (ML)

KIN – ‘L.O.V.E’
The new single from London trio Kin, ‘L.O.V.E’ is inspired by the euphoric feeling of being at the ‘Great British Festival’, that we’ve all been missing so much this summer. With shades of the driving majesty of Warpaint, its sun-strewn hooks and rippling energy make for an instantly catchy and soothingly cathartic listen. A truly uplifting alt-pop anthem. (ML)

Tiger Mimic – ‘Where The Fire Used To Be’
The new single from Tiger Mimic, ‘Where The Fire Used To Be’ is an energy-fuelled slice of alt-rock. With shades of early Arctic Monkeys, the soaring power of front woman Jess’ vocals are juxtaposed with psychedelic hooks and a whirring drive, building to an eerie climax. An instantly catchy offering, it offers a glimmer of hope in these strange times, promising that “the whole world will start over in the spring”. (ML) 

Despicable Zee – ‘We Won’t Stop’ (Tiiva Remix)
I’ve been listening to the Tiiva remix of Despicable Zee’s ‘We Won’t Stop’ since it was released at the beginning of August. Taken from her collaborative EP Atigheh Reimagined, Tiivah’s treatment of ‘We Won’t Stop’ fuses smooth, breathy vocals together with dense yet ambient beats. (KC)

MJ Guider – ‘Lit Negative’
Based in New Orleans, MJ Guider (aka Melissa Guion) blends elements of shoegaze, gothic pop and industrial sounds to create her hypnotic music. On her upcoming album Sour Cherry Bell, she explores power dynamics, musing about the notion of “lost and found, corporeal and cerebral, harnessed and exploited, of one and many, in this reality and the next.” (KC)

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ALBUM: Screaming Toenail – ‘Growth’

Having blown us away with the impassioned magnificence of their live show at The Finsbury last December, and with performances for the likes of Decolonise Festival and Afropunk Battle Of The Bands under their belts, anti-colonial queer punks Screaming Toenail have become firm favourites here at GIHE and their message is more resonant now than ever before. With singles such as ‘I.O.U’ and ‘Sever’ already out in the world, they have now shared their new album Growth. 

Opening with a jarring recording of reports of trafficking migrants and “swarms” of refugees coming across the Mediterranean seeking a better life, the album starts as it means to go on: honest, politically charged and utterly necessary. As the swirling, whirring soundscape of ‘Swarm’ builds the tension against the raw, impassioned drive of front person Jacob Joyce’s vocals and poignant lyricism, Screaming Toenail hold no punches in immediately deconstructing ideas of colonialism and empire. 

Continuing these themes, ‘White Saviour’ is a glaring commentary on the way in which white supremacy and institutionalised racism can so often be overlooked in society, particularly when assigning the roles of ‘celebrity’ or people that are revered within our communities. With a tongue-in-cheek sense of pride, Joyce denounces individualistic colonial mentalities with a distinctive seething energy.

With shades of ‘80s post-punk, ‘Define and Conquer’ speaks for itself; with striking imagery and an angst-driven drive, Joyce reflects on the damage of Britain’s “conquest and expedition”, whilst ‘I.O.U’ asserts with a fierce intensity that we are so much more than our wages and that we don’t owe our bosses, landlords, or this racist government, anything. Propelled by an impassioned cathartic rage and swirling magnetism, its raw, riotous power immerses the listener in its striking, empowering message. 

Propelled by a dark, visceral drive, ‘Sever’ envelops the ears with a stirring resonance. With shades of the anthemic, emotive energy of The Cure, it showcases Screaming Toenail’s ability to create truly compelling offerings with exquisite musicality. Of the meaning behind the track, the band explain: 

“‘Sever’ is written in response to the never ending saga of getting your hair cut as a gender non conforming person. Or is it our response to the displacement so many of us feel as black and brown people in the diaspora? Or maybe building queer community and resisting shame...”

With an empowering energy, ‘Crystal Queer’ celebrates the growth of black, queer resistance with a racing force and uplifting, vibrant power. With its colourful spirit, it’ll leave you feeling hopeful – fists clenched – ready to come together and rise up against the forces seeking to oppress. 

Continuing the uplifting vibes, and with a beautifully witty lyricism, ‘Get Cute’ is guaranteed to make you smile. With spot on ‘cute’ imagery (including personal highlight “You’re like a little old lady shoplifting from Boots”), it’s the perfect invigorating and cheer-inducing anthem to sing along to, know that you’re worth it and soothe any insecurities you may be feeling. And anyone who was at our gig at The Finsbury in December will have glorious memories of Screaming Toenail performing this live, and the comforting sense of unity and cathartic joy that filled the venue, as like-minded people came together to dance and sing in solidarity. 

‘Giant Woman’ closes the collection with all the empowering, patriarchy-smashing energy you’d expect; naming a number of visionary “giant’ women such as Diane Abbott and Reni Eddo-Lodge, it encourages you to take inspiration from others, as well as yourself, when facing the world and overcoming its challenges. A perfect motivational end to Growth’s stirring call to arms.

Despite my focus on the album’s words, it’s not simply Growth’s subject matter that demands to be heard: it showcases the eclectic and innovative musicality of the band. From immense, reverb-strewn riffs and racing punk beats, to fizzing electro-driven soundscapes and a swirling dark mysticism, it provides a perfectly danceable soundtrack to its resonant content. 

As a sort of ‘P.S’, I just wanted to add that I really have struggled to put into words just how completely important and strikingly poignant Screaming Toenail are, and I think really the album needs no explanation. You need to listen to the lyrics, the commentary on what is happening in this country right now, the raw angst and emotion that shines through every track, the magnificent cathartic energy that the band put into everything they create, to understand. I was, in fact, almost reluctant to write about it, as I don’t want any of my words to take away from the raw and necessary power of the band’s.

Growth is truly a soundtrack to our times; starkly reminding 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, intersectional communities and spaces for people to share their art together. One in which we are all continually fighting for change and feel able to grow bigger and louder in the face of challenges, and feel excited for the future. 

 

Growth is out now via Hell Hath No Fury Records. Buy it on Bandcamp.

Mari Lane
@marimindles

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