NEW TRACK: SPIDER – ‘straight out the oven!’

After watching her storm The Green Door Store’s stage at The Great Escape Festival in Brighton earlier this year, we’re thrilled to see that Irish alt-pop artist SPIDER has returned with her smouldering new single ‘straight out the oven!’. Taken from her upcoming new EP, an object of desire, which is set for release in early 2024, the track is a tenacious pop-tinged anthem that playfully dissects the reasons why we crave affection and attention from others.

“At first glance, ‘straight out the oven!’ presents itself as a fun, catchy ‘blonde, sorority girl who doubles as an over-the-top cheerleader’ rock song, which it is!” SPIDER explains about her new single. “But it’s also a really honest conversation that I was having with myself about the desire to be desired, and confronting the types of people we go to for that validation. It’s that need that we all have to be irresistible – but asking yourself, why do I want these specific people to desire me in the first place? I produced and wrote the entire thing on my own which definitely gave me the space to explore that part of myself, without having to hide it behind a complicated metaphor.”

This self-autonomous outlook permeates the songs on SPIDER’s upcoming EP. She is committed to using her music to gain a more in depth understanding of herself, and to connect with others who may be probing and questioning similar aspects of their own lives. “an object of desire really encapsulates the questions I was asking myself about objectification, desire and intimacy as an ex Catholic school student who grew up in a very religious household,” she continues. “Looking at these three things through the lens of religious trauma and Catholic guilt felt like looking at the Unholy Trinity of Young Adulthood. Like, when does desire start being desire? What is actually so intimate about sex and what is sex when it doesn’t feel intimate? You’ve realised you’ve been objectified – well okay, but what do you do about it?

I feel like this particular view on sexuality isn’t really talked about much, and I just had all these questions that no one could answer for me. Writing this EP was a way for me to explore the conclusions that were put there by a religious upbringing that covered this area of life in so much shame and nonsensical conditions. It also allowed me to process the anger I had towards the ways I was mistreated in the past without the pressure of maintaining ‘grace’. This project feels like the most personal, freeing thing I’ve made thus far!”

We can’t wait to hear SPIDER’s new record in full. Listen to ‘straight out the oven!’ below.

SPIDER was also joy to interview on our Great Escape x Soho Radio show earlier this year.
You can listen back here.

Follow SPIDER on Spotify, Instagram, Twitter (X) & Facebook

Kate Crudgington
@KCBobCut

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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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INTERVIEW: Smoke Fairies

Having been friends since childhood, Katherine Blamire and Jessica Davies – aka Smoke Fairies – were not only the first band to sign with Jack White’s imprint Third Man Records, but have sold out countless UK tours and recorded many acclaimed albums over the years. Now, following fifth album Darkness Brings The Wonders Home, the duo are working on an entirely independent basis; funding their recent sixth release through fan support on a Patreon page.

A truly poignant reflection on time and how it feels to get older, new album Carried In Sound showcases the glistening folk-strewn musicality and rich harmonious vocal layers that we’ve come to know and love from Smoke Fairies, with an added raw emotive depth, exuding a stirring shimmering splendour throughout.

We caught up with Katherine from the band to find out more about the album, live highlights over the years, and egg boilers… Have a read and make sure you treat your ears to the beautiful new album!

Hi Smoke Fairies! Welcome to Get In Her Ears! Hope you’re well. The two of you have known each other since childhood, which is quite impressive! Are you able to tell us a bit about how you initially met and what inspired you to start creating music together?
We met at school when we were twelve and started singing together when we were thirteen. We were interested in harmonies and recognised there was something interesting about the blend of our voices, but it took years to hone the sound into something properly intertwined. It feels like we are still honing it now. When we were kids we just loved playing together and being the centre of attention at school whenever possible; we were probably quite annoying, getting our guitars out at every opportunity. We dreamed of being on tour mostly, imagining it to be an experience where you drive around in a ’70s bus looking at sunsets and rocking up in small towns to wow crowds of people in leather jackets. Realistically, you are in a transit van surrounded by crisp packets driving on various ring roads and getting angry at the sat nav. It’s still great though and I hope our younger selves would be pleased!

I really love your rich folk-strewn musicality and luscious harmonious vocal layers, but who would you consider to be your main musical influences?
Thank you! I get lost in film scores and any form of dark choral music, psychedelic music and melodic moving songs. I’ve just had a new record player in my flat, so it’s nice to explore the old records again – like Nick Drake and Joni Mitchell, who were more formative influences. But nowadays, I feel like one of those boring people that says they “like all kinds of things”… For example, I was running to the Pina Colada song this week and had a really great time.

You’re about to release your sixth album, Carried In Sound, which is very exciting! Are there any specific themes running throughout the album?
The songs explore time and how it feels to get older – looking back on your past experiences from a more confident place and then looking ahead to the future. There are so many changes we go through as we grow, and Jessica and I have known each other since we were young, so there’s also been a constant in our music and friendship. That’s why Carried in Sound felt like a good title, as music has been a tide we’ve been riding all the way through ups and downs. Also there are themes of grief; loss not only for others, but also the things about yourself that you lose on the way. There’s also a hopefulness about finding a new sense of home and love, and being in a place to receive it.

You recorded the album at home with the volume turned down – are you able to tell us a bit about this process and what it was like for you?
It felt really important to shut out the world and focus on our own sound in our own space and on our own terms. The record is about quite personal thoughts, so it felt right to use the spaces and things around us to make it. Even when the narrative is more character driven, they are characters who are quite insular. The process meant we could hone the songs over time, whereas we are normally restrained by studio time, so that was quite liberating. We’ve released quite a few albums now, so this one needed to dive back into what it means to be a duo and put the voices at the front and give the guitars a lot of space to be heard. We needed to try to do it on our own, perhaps to prove something to ourselves but also to remain pure to the vision we had.

And how would you generally say the album differs from your previous releases?
There was no other motivation other than to create something really beautiful, so there’s no songs that are for the radio or for specific audiences – it’s just entirely us. Sometimes it’s just good to lock yourselves away and work out what you really feel and want to say. This record feels like it all has the same vibe and tones, all coming from the same wellspring.

It’s being released independently, and you’ve garnered lots of support through your Patreon page in the run up to its release – what triggered the decision to do this rather than release via a label, and what’s the experience been like for you?
The patreons have been great. It’s been amazing to have such a strong connection to your audience. It’s helpful to know it means something to people, otherwise you can feel too isolated and become negative, and it’s so encouraging to know that people are happy to receive the songs and waiting for them. It’s given us more confidence to do this independently, and obviously provides funding to help support the release of the record, including touring, promotion etc.

You’ve played and sold out numerous UK and international tours over the years, but is there a particular concert you’ve played that stands out as a highlight?
It’s very hard to remember them all. I do recall playing inside a tent at Latitude festival at an evening slot and it started raining and the crowds came into the tent for shelter and it felt like we created a real atmosphere to warm them. It was in the ‘Film And Music’ tent, so there was an old black and white 1920s film of The Naughty Smoke Fairies playing behind us, and the rain was beating down on the tent canvas; it felt very magical. We always wish our music could be used on film soundtracks as we always strive for something quite filmic with our sound. I liked that night because it felt like everything came together.

And you’re setting out on an intimate tour of special venues and churches to celebrate this album release – what inspired this decision?
This album requires focus and patience, so we wanted to play it in venues that naturally encourage audiences to listen. Churches are unique spaces that give harmonies a natural resonance with built in reverb, while also taking you to a place of stillness and thought. Some songs are really are quite hymn-like, so it felt apt to play them in a space where hymns have been sung through the ages.

When out on tour, are there any particular essentials that you like to take with you to keep you going when away from home?
A pillow, to either rest my head on or scream into depending on what’s happening. Jessica once brought an egg boiler with us, it was truly horrific because she kept making eggs in the van for breakfast. That has been banned now.

As we’re an organisation keen to support new artists, we just wondered how you feel the industry is for new artists at the moment? And do you feel much has changed over the years in its treatment of female and queer artists?
So much has changed in terms of an artist’s ability to work independently, which I think is hugely positive in a world where there is such under-representation at every level for women and queer people across the music industry. Learning how to record and produce opens up a freedom to create work on your own terms, build confidence, ignore the pigeon holing and just get on with what you want to do. Under-representation can create imposter syndrome if you don’t see yourself reflected, but now people can learn skills and push their art forwards without needing to get past so many gate-keepers. A lot of change is still needed of course, and the biased structures need to be addressed to really create an equitable playing field. But I think the rise in independently produced and released music is a testament to people finding their own ways to challenge these systems. We all need to make a living somehow though and it’s tough when you always have to find your own strength and motivation, without the backing of a bigger entity. I wish there was more support available for artists making strides on their own, then we would start to see so much more interesting music being produced from many more perspectives. Releasing an album independently is a lot of work, but it’s worth the sense of independence I think.

And are there any particular new artists you’d recommend that we check out?
Dear Pariah supported us last year and has a great sound and very pure voice.

Massive thanks to Smoke Fairies for answering our questions!

Carried In Sound, the new album from Smoke Fairies, is out now. Buy here. And catch Smoke Fairies live at one of their upcoming intimate dates – more info here.

Photo Credit: Annick Wolfers

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ALBUM: Problem Patterns – ‘Blouse Club’

Since they shared their debut single ‘Big Shouty‘ with us back in 2020, Problem Patterns have been lighting up our musical radar with their relatable, riotous anthems. The Belfast-based DIY punks have progressed from making music together as a hobby, to becoming a personal favourite of Riot Grrrl icon Kathleen Hanna, winning a Northern Irish Music prize, and supporting the likes of Le Tigre and Dream Wife on tour. These accomplishments are the product of sheer determination, authentic friendship and a shared defiance in the face of adversity.

On their debut album Blouse Club, Alanah Smith, Bethany Crooks, Beverley Boal and Ciara King use their collective talents to rage against misogyny, classism and homophobia in both societal and industry spheres. Not defined by traditional band structures, Problem Patterns routinely switch up instruments and mic duties for their songs, which makes for a refreshing take on the subject they’re tackling. This collective instinct, raw emotion and radical resilience permeates each of the twelve tracks on their debut full length record.

Powerful opener ‘Y.A.W‘ – an acronym for ‘Yes All Women’, antagonising the social media hashtag ‘Not All Men’ – is a visceral rumination on the universal rage and despair that permeates our consciousness in the wake of public violence towards women, in particular, the misogynist killings of Sarah Everard and Aisling Murphy. It’s a vehement, necessary anthem for women and girls who have spoken out against violent misogyny only to be told they’re “just a bitch who can’t take a joke”.

As Alanah demands “Who do we call for help? / When the help seems like a threat to me?” her bandmates create a cathartic cacophony of relentless sound around her. ‘Y.A.W’ is such a direct moment of unleashed anguish that it sets the precedent perfectly for everything that follows on Blouse Club. The aptly titled ‘Big Shouty’ is based on the band’s own personal experiences of sexist bullshit, with each verse tackling some of the comments they’ve received during their time together. Problem Patterns’ ability to recycle this rage into hard-hitting, but hugely enjoyable anthems is what makes Blouse Club so compelling.

Whether it’s Bev gleefully chanting “When the people are hungry / they’ll eat the rich!” on ‘Advertising Services’, Ciara screaming through the chorus on ‘A History Of Bad Men Part II’, or Alanah acknowledging the burnout that comes with chronic illness on ‘Picture Of Health’ (“I will never be the picture of health / I just wanna be better to my self!”) there’s always a palpable sense of relief when Problem Patterns unpack these unfiltered feelings and frustrations. Drummer Beth undoubtedly feels this in every cell of her body when she steps up to the mic to perform the excellently named ‘Lesbo 3000’. She directly calls out the homophobia experienced by queer women, with her extended screams of “Call me a Dyke!” making for a bold and empowering moment of reclamation.

The band serve listeners another vital dose of this empowerment on the seminal ‘TERFs Out’. Alanah rightfully highlights that “LGB is nothing if not for the T!”, as they tackle transphobic attitudes. The track reiterates all that Problem Patterns stand for and provides a vital statement of support for their trans friends and fans in the process. The anthemic ‘Letter Of Resignation’ flows in a similarly cathartic vein, as Bev steps forward to celebrate queer ally-ship and tear down those who discriminate against the LGBTQ+ community, specifically in places of employment. “I’m standing up for who I believe in / you can’t fire me, I’m leaving!” she chants in playful defiance, surrounded by riotous riffs and marching beats.

On ‘Pity Bra‘ (which GIHE premiered ahead of the album’s official release!), Alanah tells the story of an important night that Problem Patterns spent watching Sleater-Kinney back in 2020, that strengthened the creative foundations of the band. It serves as an interlude on Blouse Club, but it’s transient moments like this that accurately reflect the importance of nurturing platonic bonds, as they can be just as passionate and fulfilling as other relationships.

The band provide further aural antidotes and release more pent up frustrations on ‘Who Do We Not Save?’ and ‘Poverty Tourist’. The latter calls out the appropriation of working class culture in the music industry, whilst the former takes aim at the incompetent Tory government and their continued attempts to privatise the NHS. Both are bursting with the group’s trademark empathy, anger and wit, helping to offset the anxiety of the uncertain times we’re currently living through.

Named after the unofficial speakeasies that were frequented by women in the wake of World War II when they were denied the right to drink in public bars, Blouse Club is the musical manifesto of four friends whose sound refuses to remain underground. Together, Problem Patterns use their collective talents to create riotous feminist punk anthems that provide comfort and catharsis in equal measure, and their debut album is a powerhouse example of these undeniable skills.

Follow Problem Patterns on bandcamp, Spotify, Twitter (X), Instagram & Facebook

Photo Credit: Carrie Davenport

Kate Crudgington
@KCBobCut

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