PLAYLIST: August 2021

The GIHE team have unearthed some more new music gems for you to listen to on our August Playlist! There’s an eclectic mix of electronic bangers, swirling shoegaze tunes, gritty guitar tracks and alternative alt-pop sounds. Take some time to scroll through our track choices below and make sure you hit play on the Spotify playlist at the end of this post.

Follow GIHE on Spotify to hear all of our previous playlists too.

Grandmas House – ‘Golden’
The GIHE team collectively ADORE this single from Bristol queer punk trio Grandmas House. Taken from their upcoming self-titled debut EP, which is set for release on 15th October via Brace Yourself Records, ‘Golden’ is a gritty, thundering reflection on the apathetic outlook of the organisations that profit from the suffering of others. (Kate Crudgington)

ARXX – ‘Not Alone But Not With You’
The latest single from our total faves, ‘Not Alone But Not With You’ continues to cement ARXX as consistently exciting and forever honing their sound to become even more amazing. A gritty, yet reflective, and unapologetically honest offering, I just love this track’s driving emotion and anthemic singalong energy. Another swirling slice of rousing power-pop from the impressive Brighton duo. There’s also a fab Comic Review of this track up now, courtesy of illustrator Sally-Anne Hickman. (Mari Lane)

HighSchool – ‘Sirens’
Full of moody vocals, buzzing bass lines and playful riffs, Melbourne trio HighSchool have shared this sultry lo-fi banger accompanied by a very cool music video. Check out their previous single ‘De Facto‘ too. (KC)

Basement Revolver – ‘Skin’
Inspired by guitarist & vocalist Chrisy Hurn-Morrison’s thoughts and struggles about her own body image, Basement Revolver’s ‘Skin’ is a swirling, reassuring ode to self-acceptance. The track is taken from the band’s upcoming album Embody, which is set for release later this year. (KC)

Slow Crush – ‘Hush’
Hazy guitars, lush vocals and heavy beats combine on this beaut new single from Belgian shoegaze outfit Slow Crush. ‘Hush’ is also the title of their upcoming album, which is set for release on 22nd October via Quiet Panic. (KC)

Lost In Your Mind – ‘Restless’
Dublin-based newcomers Lost In Your Mind have shared this new single today, along with an accompanying video. Inspired by their love of Riot Grrrl, post punk and dark wave, Aoife McMahon, Tracey McEvoy, Elisa Kuhl and Andrea Lambe make music that makes them feel good, and latest single ‘Restless’ does exactly that. (KC)

Berries – ‘The Expert’
The latest single from GIHE faves, London trio Berries, ‘The Expert’ takes down all those patronising know-it-alls with a spiky punk energy. Tackling imposter syndrome with a ferocious, grunge-fuelled drive, Holly Carter’s distinctive sweeping vocals ring out with a rippling power alongside frenzied riffs, showcasing the band’s trademark raw passion. (ML)

Barry – ‘Neolithic Homosex’
Following their eponymous 2019 album, South London based Barry have now shared a new double A-side release. First of the tracks, ‘Neolithic Homosex’, ponders the all-important issue of what gay sex was like in ancient times. Propelled by breezy beats and joyously jangly hooks, whirring keys flow alongside brazen vocals and added cheering hand claps, oozing an uplifting, sunny energy with a fizzing, playful charisma. ‘Neolithic Homosex’, alongside double a-side ‘No More Boys’, is out now. Download from bandcamp. (ML)

Beorma – ‘Her’
I love this track from Birmingham-based duo Beorma. Mixing R&B and indie pop sensibilities with a Prince inspired guitar solo, ‘Her’ is a smooth, melancholy-tinged reflection on absent love. (KC)

Sans Soucis – ‘On Time For Her’
London based artist and one of our faves Sans Soucis has released ‘On Time For Her’ as the lead single from their highly anticipated EP of the same name. Speaking of the track, Sans Soucis says it’s a life changing statement: “It means that I am finally here for myself and I’m ready to seek happiness in life rather than being stuck in my past trauma.” (Tash Walker)

Emma Bradley – ‘I’ll Be Outside’
22 year old Emma Bradley’s ‘I’ll Be Outside’ is a song I find incredibly calming, written about being the person who shows up for yourself. Of the track, she explains “I hope that when people hear my songs, they can feel less alone in their own experiences and also empowered in some way. I think sensitivity gets a bit of a bad reputation, but everything that we feel someone else somewhere has also felt.” (TW)

Bleach Lab – ‘Real Thing’
This Bleach Lab melts me every time I listen to it. Definitely check out their recent EP A Calm Sense Of Surrounding if ‘Real Thing’ makes you a big ball of feelings too. (KC)

Anna B Savage – ‘Since We Broke Up’
Lifted from her upcoming EP These Dreams which is set for release on 24th September via City Slang, Anna B Savage’s latest single ‘Since We Broke Up’ tentatively celebrates the joy she experienced after an emotional break up. If you like the sound of this, you should definitely check out her debut album A Common Turn. (KC)

Aisha Badru – ‘The Way Back Home’
The latest single from Aisha Badru, ‘The Way Back Home’ offers an endearing reflection on relationships and the age-old realisation of “if you love something, set it free”. Propelled by a lilting energy and shimmering grace, it’s a beautifully stirring ballad, with a poignant lyricism swirling throughout. A simply exquisite, evocative creation that’ll soothe the ears with its resplendent, uplifting allure. The Way Back Home, the upcoming EP from Aisha Badru, is set for release on 3rd December. (ML)

Olivia Dean – ‘Slowly’
‘Slowly’ is a lovely piano ballad from Olivia Dean showcasing a different, more intimate side to the London artist. Taken from her recently released EP, Growth. (TW)

Siv Disa – ‘Toxic’ (Britney Spears Cover)
Having recently announced the release of her upcoming debut album, Siv Disa has now shared a wonderfully unique cover of a Britney Spears classic. Propelled by a shimmering musicality and chiming beats, Disa’s rendition of the 2001 anthem oozes its own majestic ethereal haze as the bewitching, sweeping allure of her vocals flows throughout. A beautifully captivating ode to our favourite pop queen. Siv Disa comments on her decision to release this cover: “Now that the abuse of Britney’s conservatorship has been exposed I hope we’re all taking a minute to think about how she was publicly judged ten years ago, and how that played into the nightmare she had to live in. I hope she gets back everything that was taken from her. We love you, Britney!!” (ML)

Alex Loveless – ‘Brixton’
East London based musician Alex Loveless’ new single ‘Brixton’ captures a moment of romantic indecision with its lo-fi beats and strung out vocals. This is Loveless’ first release that features a guitar, which they managed to borrow from a friend. (KC)

BEBELUNA – ‘Drunk’
BEBELUNA is an artist I’ve played before on our radio show and I’ve been following them ever since. This track ‘Drunk’ is a very enjoyable mash up of jungle and electroclash. My only criticism of is that it is TOO SHORT, but there’s nothing wrong with being left wanting for more. (TW)

CREATRX – ‘experience’
Non-binary, LA based rebel CREATRX declares they are “Not a boy / not a girl / baby I’m an experience” on this savage new single. “This song is a reflection of how I view my gender,” CREATRX explains. “I feel that my spirit (and many others) transcends the limited ideas of gender in Western society and this is a song celebrating that – encouraging us all to take up space, explore and push more.” This single is taken from their upcoming EP dirt. honey. glitter. water, which is an exploration of “what it means to be Black, young, ratchet and spiritual” in today’s world. (KC)

DROWND – ‘Sinner’ (KANGA Remix)
I’m a big fan of KANGA’s industrial, pop-tinged sounds and I am obsessed with her remix of DROWND’s new track ‘Sinner’. Full disclosure – DROWND is the new project of my older brother Joe – and I am thrilled that she’s remixed this track for him as he is also a big fan of her work. You can check out the slick visuals for the original track here. (KC)

Nilufer Yanya – ‘Day 7.05093’ (keiyaA Remix)
I can’t get enough of this track with its synthy sizzles, insect tapping beats and of course Nilufer Yanya’s dreamy vocals. So good. Check out their recently released Feeling Lucky? Remix EP out now. (TW)

John Glacier – ‘Icing’
This song comes in at under 2 minutes and leaves me gagging…gasping for more! It comes from elusive East London vocalist John Glacier, taken from her recently released 12-track project SHILOH: Lost For Words. You can all send me your thanks for the recommendation later, but for now enjoy ‘Icing’ because this track is over almost as soon as it starts. (TW)

BABii – ‘Shadow’
As is always my want, I’m going to slip a little bit of UK garage influenced music into this playlist. ‘Shadow’ from BABii nods to those club sounds we’re all desperate to be immersed in right now, with an edge of electronics. (TW)

JOON – ‘Just Can’t Get Enough’ (Depeche Mode Cover)
A cover of the Depeche Mode classic, JOON’s rendition of ‘Just Can’t Get Enough’ offers a playful, twinkling soundscape, whilst maintaining all the colourful energy of the original. Joon is Yasmin Kuymizakis, a Maltese musician and producer who ten years ago survived a life-changing car accident, and since then has seen making music as a necessary part of recovery. She’s recently released her beautiful album Dream Again and is also co-founder of the Maltese Sound Women’s Network – an organisation connecting, supporting, mentoring, promoting and educating women and girls in electronic music and sound. Find out more about her in a recent interview we had with her. (ML)

YAY MARIA ft. Franx – ‘Template’
Having previously captivated our ears as the front person of Grawl!x, Trans and queer artist YAY MARIA has now announced the release of her debut solo album, Oyez. The first of three tracks to be shared from the album, ‘Template’ is an empowering slice of poignant power-pop. Made in collaboration with Nottingham based queer artist and musician Franx, it’s a blissfully euphoric anthem celebrating being your true self in the face of adversity. You can buy ‘Template’ on bandcamp now – and all proceeds are going to the QTIBIPOC Therapy Fund; an initiative of the Radical Therapist Network, to create access for Queer & Trans People of Colour to safe therapeutic spaces & services. (ML)

Jenny Moore’s Mystic Business – ‘He Earns Enough’
Featuring members of Trash Kit, F*Choir and Bamboo, six-piece choral punk ensemble Jenny Moore’s Mystic Business have been captivating our ears for some time. Latest single ‘He Earns Enough’ reflects on shamelessly money-grabbing men who increased their fortunes to the tune of billions during the pandemic, while millions around the world struggled and suffered. As the swirling layers of vocals trickle alongside each other and grow with an empowering energy, a sweeping, celestial splendour is created. And, ending with a sea of voices exclaiming “Enough!” in unison, it perfectly captures the rage and sense of hopelessness of living with the continuing injustices of a patriarchal capitalist society. He Earns Enough, the upcoming new EP from Jenny Moore’s Mystic Business, is set for release 8th October via Lost Map Records. (ML)

Bas Jan – ‘You Have Bewitched Me’
Formed of songwriter, vocalist and multi-instrumentalist Serafina Steer, alongside Rachel Horwood (Trash Kit, Bamboo, Jenny Moore’s Mystic Business), Emma Smith (the Elysian Quartet, Jarv Is, Seamus Fogarty) and Charlie Stock, London experimental collective Bas Jan have now shared their first music in three years. Propelled a swirling ethereal majesty, ‘You Have Bewitched Me‘ offers an effervescent reflection on the mesmerising power of first attraction and new love. With the delicate grace of its sparkling harmonies, ‘You Have Bewitched Me’ showcases the subtle power of crystalline voices coming together in unity to create a truly euphoric soundscape. (ML)

MEI – ‘Let Dusk Welcome Me’
Taken from London artist MEI’s latest EP, ‘Let Dusk Welcome Me’ provides a welcome pool of tranquility. Reflecting on a refreshing evening walk she took after having been ill with COVID, it interweaves a lilting jazz-infused groove and funk-fused beats, rippling with the smooth allure of MEI’s lush, soulful vocals and a gently empowering spirit. The Hard Way Around The Sun, the new EP from MEI, was created with an all-female team and is out now. (ML)

Blonde Maze – ‘Being Pulled’
The latest single from total favourite, New York based artist Blonde Maze, ‘Being Pulled’ is inspired by “the conflicting feelings of wanting to move forward while being pulled backwards by your memories”. Bathing the ears in shimmering ripples of dreamy reflection and oozing a woozy, hypnotic splendour, Amanda’s vocals flow with a blissful haze, creating the perfect soothing tonic. A beautifully calming and delicately uplifting soundtrack that I so desperately need right now. (ML)

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LISTEN: Bleach Lab – ‘Real Thing’

Fusing hope and hesitation with heart-wrenching ease, Bleach Lab’s latest single ‘Real Thing’ is a dream-pop delight. Following on from their debut EP A Calm Sense of Surrounding, the South-London based indie group’s latest track shows Bleach Lab at what they do best: endearing, emotional indie with a hint of electronica.

Like candy that can kill, there’s a sweet sadness to ‘Real Thing.’ “It’s about wanting to find a more meaningful and lasting connection with someone,” explains vocalist Jenna Kyle. “I had been processing a lot of issues over the last couple of years to do with previous relationships and personal development, and I had finally reached a place where I felt I was in the right state of mind to be open to looking for something new.”

Saturated with the shoegazy sounds like Slowdive and Mazzy Star, it’s no surprise that the single was produced by alt-rock genius Stephen Street, who has produced tracks from The Smiths, Blur and The Cranberries in the past. The song’s acoustic guitars, soft electronic drumbeats and reverb depict the rectifying promise of budding romances. Kyle envelops her lyrics with longing as delicately as silk sits on skin: “I really wanna see you again / I wanna be more than friends,” which seems more like a prayer than a refrain.

Tender, touching and tactful, the new track emulates the melancholy melodies of Heaven or Las Vegas. If you find the slightly soul-crushing sounds of the Cocteau Twins comforting, Bleach Lab is the band for you.

Listen to ‘Real Thing’ below.

Follow Bleach Lab on bandcamp, Spotify, Instagram, Twitter & Facebook

Jay Mitra
@punkofcolour

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LISTEN: The Dead Zoo – ‘In The End’

A shimmering synth-pop tune that celebrates the importance of emotional resilience in the face of adversity, London-based group The Dead Zoo have shared their second single ‘In The End’. Following on from their J-Pop cover ‘Mother‘ in 2020, the band continue to blend pop sensibilities into their usually heavier post punk/shoegaze offerings, this time reflecting the optimism and strength that underscores their latest effort.

“During the second lockdown, I was listening to a lot of 80s stuff–Giorgio Moroder, Donna Summer, Madonna, Japan, New Order,” songwriter and vocalist Kaoru explains. “That poured into the conception of sound and melody for the song. The lyric is founded on my gender transition experience. The sense of keeping faith in an envisioned future and using that goal to overcome difficulties and stay on course; though I think it carries a more universal message of hope and optimism that I think we all need right now in these unusual times.”

Full of lush synths and snappy beats, ‘In The End’ is an uplifting ode to coping through testing circumstances. The track has also been remixed by Brighton’s CLT DRP and fellow London band The Sly Persuaders, something band member Somrata takes great pride in. “We were completely blown away by the creativity and variety of the remixes as they came in. It’s great to have so many liberating perspectives on a piece that was conceived and mostly recorded and mixed during the very difficult winter lockdown. We can’t wait to share it with the world and to perform it live for the first time.”

Listen to ‘In The End’ below.

Follow The Dead Zoo on bandcamp, Spotify, Twitter, Instagram & Facebook

Photo Credit: K Hearne

Kate Crudgington
@KCBobCut

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INTERVIEW: Miki Berenyi (Piroshka)

Having spent the ’90s fronting pivotal band Lush, in 2018 Miki Berenyi came together with musicians KJ McKillop (Moose), Mick Conroy (Modern English) and Justin Welch (Elastica) to form current project Piroshka. Following acclaim for 2019’s Brickbat, they are now releasing their second album – Love Drips and Gathers – tomorrow via Bella Union.

Offering a cinematic, immersive musicality and poignant, reflective lyricism throughout, LDAG oozes an ethereal, shoegaze-infused splendour. A collection that will both captivate and uplift with its heartfelt sentiment and sparkling grace, it showcases all there is to love about Piroshka; a beautifully stirring reflection on where the band are today.

We were lucky enough to catch up with Miki to find out more about the new record, her experience in Lush, the industry’s attitude towards women and more… Have a read!

Hi Miki, welcome to Get In Her Ears – thanks so much for joining us! How are you doing today?
As I write this, England have just qualified for the semi-finals of the Euros with a 4-0 win, so I’m in a pretty good mood!

Following 2019’s Brickbat, your band Piroshka have now announced a brand new album – Love Drips and Gathers – which is exciting! More introspective and mellow in sound than your previous release with some beautifully ethereal musicality, can you tell us a bit about it? 
Brickbat was recorded before we signed to Bella Union, so it started out as a self-funded experiment. We had no idea when we were writing and recording whether it would ever be released, and though I love that it captures the energy and momentum of the four of us forming Piroshka, there was very little time to develop the songs. It was a bit: first take, DONE! We’d be frantically coming up with ideas and getting them down before the studio time ran out.

With LDAG, we had time to let the songs sink in, think about the details and experiment with the sounds and embellishments. We were working throughout with Iggy B, who brought a consistency to the recordings and he was a great asset in directing and facilitating our ideas. I think of Brickbat as live, and LDAG as studio; and that may go some way to explaining the increased “introspective and mellow” vibe. But it was definitely a conscious decision to make this record more “beautiful”.

Are there any particular themes or inspirations running throughout the album?
Being in your 50s lends a certain perspective. A lot of the lyrics are about people we have lost and the memories they evoke, and the relationships that play out as you get older. Regret is not something you tend to worry about as a young person, but at my age there are things you have to accept – the life not lived, the unsaid things that it is now too late to say, or that it’s finally easier to say.

How does the writing process normally work within the band? Is it a very collaborative process? 
The writing process within the band is deliberately flexible. Everyone contributed to Brickbat, but a lot of the original direction came from me and Justin. This time around, there was a conscious decision to push more control toward Mick and Moose. These are subtle shifts – but I love that I am working with three uniquely talented people, who have different and separate ideas. We all collaborate and contribute, but allowing different elements to take precedence means – I hope! – that each record will have a different feel.

How have you found recording and promoting an album during these strange times? Have you had to adjust the way that you’d normally do things? 
We are all well into middle age, so yes – a virus that poses increased risk to old folks definitely made us cautious. But the recording wasn’t really affected as it was almost entirely completed before lockdown. And – apart from me and Moose, who live together – we are quite far flung, so it has always been a faff to arrange meet-ups. A lot of our interaction takes place online so it’s not been a major change. The main disruption was having to wait for the mix (Iggy’s studio was closed during the first wave), waiting for backlogs to clear at pressing plants (which delayed release date) and difficulties with filming videos. Promo really isn’t a problem, since our days of doing face-to-face interviews and photo sessions are long gone! That said, we couldn’t get together for band photos, and I have become such a slob during lockdown that I’ve almost completely forgotten how to make myself presentable. 

And, ahead of the album’s release tomorrow, you’ve shared poignant single ‘V.O.’, a tribute to 4AD’s late in-house art director and graphic designer Vaughan Oliver. Are you able to tell us more about this single and your memories of working with Vaughan? 
‘V.O.’ was an odd track because I originally wrote it as an instrumental but as the track grew, I was encouraged by the others to write lyrics for it. I went to Vaughan’s funeral in January 2020. There was shock and sadness and people travelled from far and wide to attend. I really wasn’t that close to him personally, but I loved working with him on Lush records, and we pretty much let him do what he wanted in designing the artwork (why wouldn’t you?). In fact, the titles I came up with – Scar and Split – were both partly inspired by Vaughan’s work: the vertical scratches on our first mini-album and the horizontal dividing line in the photographs used for the second album and EPs. The song is as much about the funeral than Vaughan himself. I used snippets of the speeches and memories of the day for the lyrics. As mentioned before, at my age you start to lose people, and it can hit you viscerally.

You formed Piroshka back in 2018, after having fronted ‘90s brit-pop band Lush. What made you decide to start another band, and how does the experience differ from being in Lush? 
I wouldn’t be in Piroshka if it hadn’t been for the Lush reunion gigs. I hadn’t played music for twenty years, and I didn’t realise how much I missed it until I started doing it again! During the last leg of the Lush dates, chatting on the tour bus, Justin (who stood in for Chris and played drums on the tour) kept encouraging me to continue with a new project, and when Mick stood in on bass for the final show in Manchester, the three of us did most of the prep and we really had a blast playing together. Then Justin started sending me tracks to work on (he was very persistent!) and it blossomed from there. So really, Piroshka was just a continuation of the momentum from playing together in the Lush reunion, and Moose was right there so we suddenly had a band without needing to make much effort. 

When I was in Lush, the band came first above everything. I absolutely loved writing and playing music and going to gigs, and the camaraderie of being with the band members, and making friends with 4AD/Warners bods, studio and touring crew, music journalists, other musicians etc. But it overwhelmed every aspect of my life and took up all my headspace. With Piroshka, we all have other bands/jobs/projects/kids etc that require separate space and attention. Of course, we are nowhere near as successful as Lush was, but I don’t think I could ever be full time in a band again. Having my career, income, social life, relationships – my whole identity, really – all reliant on the band’s success and continuation was emotionally exhausting.

And how would you say the music scene differs generally these days from back in the ‘90s? And would you say that the way that women in particular are treated in music has changed much since then?
The internet has changed everything. Back in the ’90s, music papers, record companies, radio stations etc all had vastly more power and reach. That was an asset if you were favoured, but it was difficult for anyone denied access to those platforms to be heard. Now anyone can make their music accessible, but most are overlooked in the vast ocean of what’s available. 

The online world often feels too thinly spread to really be a ‘scene’, but I am heartened that there are communities where women support each other. On the other hand, the wilful misinterpretation, bullying and abuse that women disproportionately receive is depressing. Lush was very fortunate to be on a label (4AD) that treated women with respect. We never felt patronised or overlooked in favour of male artists. The fact that we had two women in the band was neither here nor there – it was the music that was important. And I see other labels – Bella Union, Lost Map, Milk – to name a few – who carry that same spirit. From my own perspective, I notice that there are a lot more women in bands who continue to make music beyond their 40s. It’s hard to be a pioneer – most of us need living examples to visualise what’s possible, and be inspired to follow in their footsteps. The same must also be true for younger women. I watched the TV show We Are Lady Parts recently, a sitcom about an all-female Muslim band, and it was so funny and energetic and showed how exciting and liberating it can be to be in a band and play music. It was genuinely inspirational, and must have reached a wider audience than a lot of bands’ music does these days. I hope lots of girls watched that and thought “that looks amazing, let’s form a band!”

Unfortunately, in the wider context, I continue to see female musicians treated as a separate category to the (male) norm. Of course, your sex, age, race, class etc will have an influence on how you perceive the world, and therefore the art you create, but I despair at ‘femaleness’ being treated like some niche perspective, when we make up than half the population, and sexism being normalised by pandering to the notion that, for example, certain festival crowds prefer all-male bands because… what? A mostly male audience is so boorish and insecure that they are only going to tolerate the occasional woman on stage, primarily to provide eye candy? It’s insane that anyone in a position of power even thinks that way. And this is not about some dry tokenistic exercise of ticking diversity boxes to ensure every minority is represented. This is about people in positions of power actually liking music – ALL music. People loved John Peel’s radio show because he had wide-ranging tastes and could see value in everything from heavy metal to hip hop, punk-rock to jazz – whatever the artist’s race or sex or class. We need more people with a similar passion in positions of power and influence, so women don’t feel like they are lucky interlopers, competing against one another for precious space because there is only room for a limited number of female voices. 

The last year has obviously been difficult for everyone in different ways, but has there been anything or anyone specific that has been inspiring you, or helping to motivate you, throughout these strange times? 
I got approached by Peter Selby, who was setting up a new imprint, Nine Eight books, with Bonnier, to write a memoir. The prospect was terrifying, but I knew if I said no I would regret it. So, I have been embroiled in memories and my own thoughts for months, which offers some escape from the trauma of the outside world – if not the trauma of my inside world!

And it’s obviously quite difficult organising anything right now, but – in addition to the release of the new album – what else does the rest of 2021 have in store for Piroshka?
We’ll be touring in November, with John Mouse supporting, so that will require rehearsals and planning, etc. Justin is already sending files and ideas for the next album, so we’ll be cracking on with that!

Finally, as we’re a new music focused site, are there any new or upcoming bands that you’d recommend we check out?
I’m very lazy at seeking out new music and rely a lot on Moose, who is more committed at scouring music blogs and websites. My last gig before lockdown was Big Joanie, who have become a staple favourite. And my first socially-distanced gig was a band called Lemondaze who supported us a couple of years ago. I also did a vocal for a band called Blushing from Austin, Texas, though I’m a bit behind and not sure if/when that’s out! The last albums on my turntable were by Jane Weaver, Pictish Trail, Callum Easter, International Teachers of Pop and Hachiku. But I suspect that a lot of these artists have actually been around for a long time since they have several records! I also heard Wet Leg the other day and really liked that.

Thanks so much to Miki for taking the time to talk to us!

Love Drips and Gathers, the new album from Piroshka, is out tomorrow 23rd July via Bella Union. Pre-order here.

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