LISTEN: Daughter – ‘Arise, Daughters Of Marsha’

The debut release from transgender black metal project Daughter, ‘Arise, Daughters of Marsha’ is a battle cry summoning the global community to stand up for trans rights. The track begins with a scream that acts as Daughter’s mission statement, not just with this single but the full upcoming EP. Vocalist and songwriter “Deadname” aims to channel the trauma of the trans experience in contemporary society through the brutal, aching sound of black metal.

The lyrics are delivered in a guttural scream that feels like it has been ripped violently from her throat. Shrieking guitars and rapid drums echo the feeling in the vocals, without compromising on the absorbing quality of the beat or the melodic riffs. An almost military-sounding rhythm adds a looming sense of dread to the track, compounded by the ominous wailing stings.

In this song, Deadname allows herself to cast aside the composure with which she, as a trans woman, is expected to carry herself with at all times in public; to act as a representative of her community against the vitriol of transphobic commentators. Instead, this track is raw and honest and seethes with the pain and rage that come as an extremely understandable reaction to the treatment of trans people right now, as news stories of transphobic attacks are increasingly, tragically frequent.

Savage riffs and blasting beats ramp up to a churning storm of music, until it ends by sampling some massively poignant lines from Sylvia Rivera’s ‘Y’all Better Quiet Down‘ speech from 1973, in which she exposes the hypocrisy of trans-exclusionary queer people. She reminds the world how much abuse trans women have historically faced when standing up for queer liberation only to be shunned by other members of their own community. “You all treat me this way? What the fuck’s wrong with you all?” The fact that these words are still so powerfully relevant more than fifty years later, with “charities” claiming to support the queer community but explicitly and unashamedly excluding trans people, gives this track a sucker-punch finish that leaves you unable to ignore the importance of the conversation Daughter generates with this poignant and necessary debut.

Kirstie Summers
@ActuallyKurt

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PLAYLIST: November 2023

The Get In Her Ears team have put together another eclectic mix of pure punk anthems, indie & alternative tunes, grunge & shoegaze musings and alt-pop and electronic sounds for your listening pleasure. Take some time to scroll through our track choices below, and make sure you press play on the playlist at the end of this post.

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

 

Problem Patterns – ‘Terfs Out’
Hosting Problem Patterns’ sold out London gig at Sebright Arms last Friday was a total dream. The second time they’ve played for us, and with support from total faves Fightmilk and band-on-the-rise Dogviolet, it was a wonderful night, topped off with an epic headline set from the Belfast punks – uniting the crowd in solidarity with both their swirling righteous anger and vibrant, joyous sense of fun. ‘Terfs Out’ is always a particularly powerful song to witness live, and one whose message in support of our Trans siblings is more poignant now than ever: “LGB is nothing if not for the T / so show up with some real solidarity.” Problem Patterns remain one of the most exciting bands around and deserve every success to come their way; having recently won a Northern Irish Music prize for best video, released their incredible debut album, Blouse Club, and shared a stage with total legends Le Tigre. I cannot wait to see what they have in store for us next.
(Mari Lane – Managing Editor)

pink suits – ‘Refuse The Rules’
Having blown us away with their immense live show on more than one occasion, Margate queer punk duo pink suits have become firm favourites at GIHE. We couldn’t be happier to hear that they’ll be releasing their second album in Spring 2024. Our first taster from the record comes in the form of perfectly raging new single, ‘Refuse The Rules’. Just over a minute and a half of pure empowered rage, it’s a scream for space – a refusal of the rules that have been historically created to limit people’s lives and freedoms. As Ray’s fierce growl and driving beats seethe alongside Lennie’s frenzied raw hooks, it offers a perfect raging catharsis; a short and sharp rallying cry, inciting us to stand up and make our voices heard in the face of suppression and aggression. Dystopian Hellscape, the upcoming second album from pink suits, is set for release in Spring 2024. (ML)

The Menstrual Cramps – ‘Body Politics’
I’ve been waiting a long time for new music from Bristol-based punk legends The Menstrual Cramps, and now it’s finally here! Released via the loveliest of labels, Alcopop! Records and sounding as vital as ever, ‘Body Politics’ is based around American philosopher Judith Butler’s idea of gender performativity (from her book ‘Gender Trouble’), and rallies against the ways in which gender constructs are forced upon us all under capitalism to benefit the patriarchal structure. Seething with their trademark ferocious energy, and building to a fierce RATM-esque climax, it’s a perfectly empowering and cathartic explosion of necessary rage. (ML)

Touch Excellent – ‘Overtone’
This is the latest single from Dublin punks Touch Excellent, who have described it as a “Trans Rights Anthem”. The track reflects on the band’s own experiences of the years-long waiting lists they’ve faced when trying to access trans health care in Ireland. They explain that the “heart of the song” is the personified “long wait”, where lead singer Lenny holds a 21 second wailing note, demonstrating the extended frustrations of those who are still waiting to be treated. (Kate Crudgington – Features Editor)

Jock – ‘Moving’
Belfast based queer punk band Jock have recently joined the VETA Records roster, and released this new anthem titled ‘Moving’. It’s inspired by the housing crisis in Northern Ireland and further afield, rumbling with a raw and righteous discontent. (KC)

HAVVK – ‘City Creep’
The latest single from total faves, Irish band HAVVK, ‘City Creep’ offers a stirring reflection on the impact that Dublin’s housing crisis is having on cultural spaces in the city. Propelled by a fierce energy as celestial vocals and scuzzy hooks seethe with an unrelenting sense of urgency, it showcases the band’s ability to exquisitely create a shimmering immersive grace whilst emanating a raw, politically-charged rage. ‘City Creep’ is out now via VETA Records, and we cannot wait for HAVVK to return to the Get In Her Ears stage, headlining for us on 28th March next year at Shacklewell Arms. Tickets are cheaper in advance. Get yours here. (ML)

SPRINTS – ‘Shadow Of A Doubt’
Described as their “most vulnerable moment to date”, Dublin punks SPRINTS have shared this cathartic anthem, which deals with the experience of “trauma, depression and the aftermath.” Vocalist and guitarist Karla Chubb’s clear, cutting lyrics reveal the intensity and range of emotions that underscored the track’s conception, which tentatively builds to a swell of all-encompassing noise. ‘Shadow Of A Doubt’ is taken from SPRINTS upcoming debut album, Letter To Self, which is set for release on 5th January 2024 via City Slang. (KC)

Schande – ‘52 Hz’
I’ve been a big fan of Schande for some time now, especially since they charmed our socks off at our first gig post-covid in November 2021. Their new single ‘52 Hz’ offers a soaring slice of shimmering shoegaze-tinged indie-pop; inspired by a whale whose calls resonate at a different frequency than other whales, it flutters with fizzing hooks and Jen Chochinov’s distinctive brooding vocals. A truly dreamy sonic experience. ‘52 Hz’ is out now via The Daydream Library Series, the house record label of Thurston Moore & Eva Prinz’ Ecstatic Peace Library. (ML)

Dermabrasion – ‘Goblin Dance’
This is only the second track I’ve heard from Dermabrasion, but the Toronto-based duo are fast becoming firm favourites of mine. Such a banger! ‘Goblin Dance’ is taken from the band’s upcoming debut album, Pain Behaviour, which is set for release on 26th January via Hand Drawn Dracula. (KC)

Meg Elsier – ‘iznotreal’
I love this new single from Nashville-based artist Meg Elsier. Punishingly heavy riffs and soft, sultry vocals – strong #GloomyGirl vibes, which we all know, are the best type of vibes. Check out the excellent accompanying video for it here. (KC)

Wisp – ‘Once then we’ll be free’
19 year old San Francisco-based artist WISP makes music inspired by the likes of Deftones, My Bloody Valentine and Whirr. This is her latest single and it’s full of brooding bass lines, hushed vocals and heavy reverb. I’m looking forward to hearing more from her in the near future. (KC)

Softcult – ‘Haunt You Still’
Toronto-based duo Softcult’s latest single is a shimmering reflection on the mark we leave on others in the extended aftermath of a breakup. Full of their trademark shadowy, swirling riffs and soft dual vocals, the band explore accountability and atonement on this bittersweet offering. (KC)

body / negative ft. Midwife – ‘sleepy’
This delicate lullaby by body / negative is a tender, moving ode to their late parents, accompanied by a deeply nostalgic video. I’ve loved everything that body / negative has released this year, and I’m looking forward to hearing their new record, everett, in full when it’s out on 8th December. (KC)

House Of Women – ‘Hypocrite’
London-based newcomers House Of Women released their debut EP, People Printing, via their own label earlier this month, and this track ‘Hypocrite’ is a standout listen. They will be headlining London’s Omeara on 5th December, so grab a ticket if you like what you hear. (KC)

Felicette – ‘Go To Hell’
Named after the first cat in space, Felicette are your new favourite DIY indie-pop band, formed of members of faves like Cheerbleederz, Supermilk and Doe. Set to release their debut EP next month, they’ve now shared the title track – a wonderfully scuzzy ode to the catharsis that comes with being honest about your feelings after being hurt. I love its grunge-tinged hooks and gritty energy, and can’t wait to hear more from this lot! Go To Hell, the debut EP from Felicette, is out on 5th December via Everything Sucks Music. (ML)

King Isis – ‘Make It Up’
“I wrote the first version of this song at home, going through lows in love and life,” explains Oakland-born artist King Isis about their latest single. Full of angsty lyrics and their smooth vocals, ‘Make It Up’ is a taste of what’s to come from the artist in the near future. The track is also accompanied by a brooding, vampire themed video, which you can watch here. (KC)

ARXX – ‘Baby Uh Huh’
As if a single from ARXX wasn’t exciting enough, the new one features a whole chorus of favourites! Including familiar voices from the likes of CLT DRP, Cherym, Soft Lad, Ailbhe Reddy, and DIY legend Beth White, this rendition of ‘Baby Uh Huh’ is a beautifully uplifting and empowering anthem, released to raise funds for We Exist – whose work is invaluable in supporting trans and queer communities. ARXX explain: “We were looking at the world around us, at all the attacks on Queer lives and in particular Trans lives, and we wanted to do something to show our support with our Queer community. ‘Baby Uh Huh’ is about finding the right people to surround yourself with to make you a better version of yourself, which is a very Queer experience.” Once again establishing themselves as master creators of the freshest, most addictive and most euphoric anthems, ARXX continue to make me fall more and more in love with them with each release. I can’t wait to see them live again on 7th December at The Lexington! Tickets still available here. (ML)

Personnel – ‘Her City I Was After’
Taken from their forthcoming album set for release next year, ‘Her City I Was After’ by Personnel was released via queer record label Staying Out Records. It’s a kind of unrequited love song to Soho. The song draws on places and characters finding queer life in London from the 30s to the 70s, with the video bringing it alive in the 90s, using archival footage by film maker Mark Harriott of direct action queer activist group OUTRAGE! Check it out now. The more I listen to that song the more I love it. (Tash Walker – Digital Editor)

ALYSS – ‘Hydra’
I am SO into this track from Alyss, who played live for us back in 2018 at Notting Hill Arts Club – which was such a great show! Talking about the track, ALYSS explains: “She is one. A singular point that has roamed between the shadow & ether of every cell for the past 7 years”. (TW)

Catherine Moan – ‘Undo Undo’
Another heady dose of synth-pop from Catherine Moan here. Released via Born Losers Records, the track is an intoxicating blend of Catherine’s honeyed vocals, 80s-esque electronics and catchy beats. (KC)

Seraphina Simone – ‘Liverpool’
This was my Track Of the Show on November’s Soho Radio show, we are LOVING it at Get In Her Ears! Seraphina wrote this while on tour with Self Esteem in Liverpool, and it’s all about love, loss and memory. Close your eyes and allow yourselves to dive deep into the sounds of Seraphina Simone. (TW)

Stainwasher – ‘Circle Trails’
Stockholm-based musician Stainwasher has released this “slowcore/dreampop gem” that explores how counterproductive infatuation and obsession can be. Released via Oh Sister Records, it’s a bittersweet, shoegazey rumination on wasted time. (KC)

Holysseus Fly – ‘Bloom’
Such a mesmerising track from Holysseus Fly, taken from her debut solo EP, Birthpool, released earlier this month. You may recognise Holly’s vocals from Ishmael Ensemble, where she is the vocalist and songwriter, but this is her solo iteration! She’s going to be headlining three UK shows this month, the first in Bristol at The exchange on the 23rd, Corsica Studio in London on 24th November, and the Carlton club on 28th. (TW)

Montañera – ‘Santa Mar’
London-based Columbian artist Montañera creates innovative immersive soundscapes fusing together traditional South American musical influences with contemporary ambient electronics. Featuring marimba player Cankita (from the band Bejuco) and the expressive voices of Las Cantadoras de Yerba Buena, a group of traditional singers from Tumaco, latest single ‘Santa Mar’ is poignant reflection on on peace, specifically for afro pacific women, and shimmers with a sweeping twinkling splendour and captivating raw emotion. A Flor de Piel, the new album from Montañera, is out now via Western Vinyl. (ML)

Ratboys – ‘The Window’
I’d been desperate to see Chicago’s Ratboys for some time (especially as this year’s album, The Window, is in my personal top five of 2023 for sure), so it was a real treat to finally catch them live at Omeara last Sunday, along with Norwich faves SUDS. Delivering a set even more dreamy than I could have hoped for, each lilting hook oozed fuzzy surf-pop perfection as front person Julia Steiner’s vocals exuded a shimmering raw emotion throughout. As the crowd sand and swayed along in blissful unity, it was captivating and comforting in equal measure; a much-needed ray of sunlight in an increasingly dark time. Thank you Ratboys! (ML)

Teens In Trouble – ‘Sharon’
With a collaborative split EP with LA based Desert Mambas out now, Teens In Trouble (the indie creative project of writer, guitarist, and vocalist Lizzie Killian) create perfect emo-tinged pop-punk with a quirky, playful energy and fuzzy allure. Offering emotive yet upbeat songs about being present in the moment and mental health, based on true stories/experiences of Killian, the EP provides a must-have soundtrack for anyone experiencing existential crises right now. Teens In Trouble / Desert Mambas, the split EP, is out now via Kill Rock Stars and Asian Man Records. (ML)

¡Ay Carmela! – ‘Rear View’
Bristol-based trio ¡Ay Carmela! have just released their much awaited second album, Tokens. Reflecting on themes around cherished memories and inevitable change, it showcases the band’s gritty ‘90s-inspired indie-rock sounds, interweaving their distinctive catchy hooks with a sparkling emotion. Tokens is out now. ¡Ay Carmela! will be playing for us at The Shacklewell Arms on 2nd February 2024, supporting German dream-pop band Roller Derby with Panic Pocket. Tickets are cheaper in advance and are available here. (ML)

Ida Kudo – ‘The Power That Is Woman’
With her upcoming new EP set for release in Spring next year, Danish-Japanese alt-pop artist Ida Kudo has recently shared anthemic single. Her first material in four years, ‘The Power That Is Woman’ is propelled by a fierce empowering energy and alluring soulful grace as Kudo urges us to fight for a new kind of leadership, putting people before profit.
‘The Power That Is Woman’ is produced by Andrew Hunt. (ML)

NESS NOST – ‘The Regular’
This is the second release from NESS NOST’s EP called ‘The Regular’. The song’s narrative centers around the protagonist working in a restaurant, this time being confronted by a regular customer, that ends with a decision between making a living, or standing up for herself to this overbearing man. Boundaries crossed, where in many places of work women have to choose between dignity or money. (TW)

 

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LISTEN: GIHE on Soho Radio with ARXX (26.06.23)

Tash, Kate and Mari were all in the studio together for June’s edition of the Get In Her Ears Soho Radio show! They played loads of new music from some of their favourite female, non-binary and LGBTQIA+ artists, and Tash made a poignant speech about Trans Rights and the importance of supporting trans artists during Pride month, and all year round. There was an eclectic mix of tracks on the playlist too, including Planningtorock, CLT DRP, Lauren Auder, Problem Patterns, Jackie Shane, Ratboys, Dream Wife, Speakers Corner Quartet, Fraulein and more!

The team caught up with total faves Hanni and Clara aka ARXX. The pair came into the studio to talk about the reaction to their debut album, Ride Or Die, which they released in March this year, their impressive touring schedule – including shows with The Vamps, Yungblud and MUNA – and their undying love for Avril Lavigne (which Kate also harbors too.) The GIHE team also reminisced about the first time ARXX were guests on a GIHE radio show back in June 2019, which you can listen to here.

Listen back to our most recent show below:

 

We’ll be back on Soho Radio on Monday 24th July from 12-2pm!

Tracklist
Jackie Shane – Sticks and Stones
Planningtorock – Transome
Problem Patterns – Letter Of Resignation
ARXX – Ride Or Die
**Interview with ARXX**
CLT DRP – Nothing Clever, Just Feelings
Dream Wife – Leech
Cable Ties – Thoughts Back
Ratboys – It’s Alive
Yvonne Ambrée – Outtamymouth
Speakers Corner Quartet – Fix
Sprints – Adore Adore Adore
House Of Women – Hysterical
Hera Lind – Hungry Lion
heka – april (away)
Girl Ray – Everybody’s Saying That
Fraulein – Big Cool
The Crystal Furs – Gay Bar (Electric Six Cover)
Grrrl Gang – Spunky
Beverley Glenn-Copeland – Africa Calling
Gazelle Twin & NYX – Deep England
Hand Habits – The Bust Of Nefertiti
F*Choir – Dying
Lauren Auder – we2assume2many2roles
Chroma – Woman To Woman
Breakup Haircut – Out Of My Way (I’m Not Getting On The Nightbus)
Anohni and The Johnsons – It Must Change

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LIVE: Grace Petrie @ Stanley Arts, 12.11.2021

Having initially bought tickets to see Grace Petrie back in May 2020, it was with great excitement that I finally got to witness her politically-charged, yet beautifully uplifting, folk anthems live on 12th November. And it was with even more excitement that, having been a Croydon resident for over three years now, I was able to attend an event at charming local venue Stanley Arts (formally Stanley Halls), just down the road in South Norwood. As a South London resident, it made a particularly nice change to be able to walk to and from a gig, when normally I have to brave various modes of public transport to venture across to the other side of the city…

And the venue seems to suit Grace Petrie’s understated, yet strident, charm perfectly. Sitting in the picturesque old community hall (that now strives to be a completely inclusive space with a focus on hosting LGBTQIA+ creatives and artists of colour), as Petrie introduces us to her “songs of social justice”, a refreshing sense of togetherness seems to unite the crowd and she’s greeted with cheers for the first song of the set – ‘Farewell To Welfare’; one she says that she used to end with, but has now decided to open with as “if that wasn’t politically up your street, the rest of the gig is not for you!” And she’s right; this particularly resonant offering, this longing for a socialist revolution, continues throughout the set, and it’s right up my street – both politically, and musically. 

Continuing with an emotive track from 2017’s Heart First Aid Kit, ‘Coldwaterproofjacket’, Petrie invites us all to sing along to the catchy chorus, and we joyfully oblige; accompanying her own exquisite, rich vocals and lilting melodies to this beautifully heartwarming ballad. And the endearing, friendly vibes continue as Petrie introduces us to multi-instrumentalist Ben Moss, who is not only her musical partner, but was unintentionally her housemate for 6 months during the first of last year’s lockdowns – “We’ve come out of it much closer than we were, there’s not many people I could spend six months locked in a house with. But we got through it!” (in fact she seems to be so fond of him, and in awe of his talents, that later in the set she shares that she has considered setting up a crowdfunder to clone him…) 

It was during this first lockdown that Grace Petrie wrote her latest album, Connectivity – a poignant collection of tracks reflecting on our connection to, and unity with, other people to keep us going through hard times. Taken from this album, Grace introduces ‘Storm To Weather’ as being for “us storm-battered socialists who don’t know when this hurricane is going to stop…” A stirring sentiment oozing an empowering message of solidarity and resilience and, as we all join in with heartfelt gusto to the mainline of the chorus “I will love you forever and we’ll dance again next year”, I feel an overpowering raw emotion, heeding this political call to arms to keep going; to keep fighting for change, for better times…

Following the twinkling grace of ‘Ivy’, a song dedicated to Petrie’s niece who came into the world during Glastonbury 2014 – thankfully after Dolly Parton’s set (which I too was lucky enough to witness!), there’s another offering from the new album. A moving reflection on the confused headspace that can come from mixed messages and unrequited feelings, ‘The Last Man On Earth’ showcases Ben Moss’ immense musical skill as he switches between banjo and fiddle, alongside Petrie’s immersive crystalline charm; poignantly juxtaposing the raw emotion of its heartfelt sentiment with a refreshingly joyous musicality and instantly catchy energy. 

Taking a brief interlude from her own songs, Petrie then hands over to Moss to take centre stage as we’re treated to one of his own, solo offerings – the chiming traditional folk sounds of ‘Bold Reynard’, a lilting ode to the “modern day fox”. 

Resuming her unifying, politically-driven passion, Petrie introduces 2017’s ‘God Save The Hungry’ as an “alternative national anthem” – clarifying that, although God may not be her thing, if he was then surely there are more worthy people in need of saving than the Queen. As she sings with a fervent emotion – “God save the hungry, God save the poor, God save those desperate souls whose lives are torn apart by war. God save the homeless and those with disabilities, and all the other targets of this heartless ideology.” – I’m struck by this extremely pertinent sentiment, once again showcasing Petrie’s knack for combining resonant, necessary themes with an utterly unique, shimmering musicality. 

Reviving our appreciation of Ben Moss, we’re then reminded of a project that he and Petrie worked on together throughout lockdown. Recording a rendition of a song beginning with each of the 26 letters of the alphabet each day, the two of them united with fans at a time when small pleasures were especially important; bringing a little joy into our locked-down lives, connecting us to each other, with each of these covers, and in the process raising money for The Big Issue. Petrie explains that on each of their gigs on the current tour, they’ve been picking out of a hat which one of these covers to play, and “hope it’s not ‘Xanadoo‘”… We end up with V and so ‘Venus’ it is – a fun-filled, folk-tinged rendition of the classic ‘80s hit – such a special rendition in fact, that we forgive Grace for forgetting some of the words.

Following the rousing, heartfelt emotion of the beautifully accordion-accompanied ‘Some Days Are Worse Than Others’,  Petrie explains that the reason she is dressed so smartly is not actually because she has a snooker match after the gig, but to convey the message of the next song – the poignant and empowering ‘Black Tie’. Addressing the damaging effects of enforced gender norms, it was written as a message of hope to Grace’s younger self, and to those like her – she explains that as an unhappy teenager, she had to deal with society telling her she was wrong, but today she is proud to be a butch lesbian: “I turned 30 and instantly stopped giving a fuck.” Tonight, Petrie dedicates the song to all her trans, non-binary and gender non-conforming siblings, and urges us all to protest transphobia at this time when it is more important than ever to stand together and protect each other against those who are seeking to oppress us. And, as we all sing along to the lyrics “and the images that fucked you were a patriarchal structure, and you never will surrender to a narrow view of gender…”, I feel an overwhelming sense of unity, a fierce determination to be the best ally I can possibly be and stand with my trans siblings, today and every day. Because trans rights are human rights, trans women are women and trans men are men. Non-binary people are valid. And every single one of us, whatever gender, race or nationality we may be, deserve equal rights, safety and joy.

Following an enlivening call and response crowd participation for Queer As Folk’s ‘Northbound’, Petrie returns for a welcome encore with the closing track of her latest album, ‘The Losing Side’, for all her comrades – “If I’ve spent my life on the losing side, you can lay me down knowing that I’ve tried.” A stirring way to end the set, leaving us with a poignant sense of hope and unity. A sense of joy at finding solidarity in each other, and a determination not to give up in the face of adversity.

So, thank you to Grace Petrie (and Ben!) for such a lovely evening. A perfectly cathartic experience in these strange times, reminding me of the connection that music can bring, offering a comforting message of solidarity and resilience at a time when we need it the most.

Plus, I got to be home and in bed by 11pm! 

Listen to/buy Grace Petrie’s latest album, Connectivity, now. And read a recent interview with her on Get In Her Ears here.

Mari Lane
@marimindles

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