WATCH: Rats-Tails – ‘Coke In The 70s’

Born out of Covid solitude, Rats-Tails was formed by singer-songwriter Courtney McMahon and guitarist Chris Bull. Following last year’s debut single ‘Spine’, the ‘dream-rock’ band has already gained momentum and drawn in crowds at renowned London venues like The Windmill and the George Tavern, as well as supporting the likes of Tapir! and Honeyglaze. 

Playfully entitled ‘Coke in the 70s‘, their latest single is accompanied by a video described by the band as “Top of the Pops meets David Lynch” – an accurate description as the stage scene brought to mind Mulholland Drive. 

The track opens with ethereal swirls of guitar awash with shimmering cymbals, creating an eclectic blend of ’90s indie, shoegaze, and ’70s psychedelic rock. Drawing creative influence from bands like Siouxsie and the Banshees and My Bloody Valentine, as well as the compositions of Ennio Morricone, the song oozes a majestic cinematic quality.

McMahon’s velvety vocals take the spotlight in the more stripped-back verses as the melody draws you in, accompanied by relaxed guitar chops. The chorus, in contrast, is far more maximalist, featuring a lush soundscape of fuzzy, atmospheric guitars and more crashing cymbals. I’m one for a great outro, and Rats-Tails certainly deliver on this; blending delicate hispanic-sounding classical guitar, accompanied by harmonies and a gentle drum beat.

The lyrics deliver random bursts of imagery, with phrases like “TV license, Kanye West” but are personal to McMahon who has said that the track “recounts a tale of music after parties, covid delirium and grieving a family member”, whilst also noting “Coke in the 70s is a vignette of a very unlucky period in my life, yet it’s one of my favourite songs to play live”. This interplay between the upbeat and playful nature of the song and the darker subject matter offers a beautiful poignancy, and is a real strength of this sparkling track. 


Catch this single and more of what this exciting new band has to offer at their launch party at The George Tavern on the 14th October.

Ella Patenall
@ella_patenall

Photo Credit: Diego Hernandez

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LISTEN: Small Crush – ‘Rumblin’ Tummy’

A re-imagining of an old track, ‘Rumblin’ Tummy‘ by Californian band Small Crush is a heartfelt and happy love song; it revives their old song, ‘Tummy Rumblin’’, with a fresh perspective, taking the core of the track and making it an uplifting celebration of longevity. 

‘Rumblin’ Tummy’ is about staying in love. It’s about still experiencing the giddy euphoria of seeing someone special, even when they’ve been in your life for a long time. It’s sweet and sincere, and all too easy to get caught up in the moment. Soft vocals and twinkling guitars over an upbeat lilting rhythm echo the vulnerability in the lyrics extremely well, with the delivery of every element resulting in an instantly catchy track that is rich with emotion.

The lyrics detail the feelings with a sense of immediacy that draws you in. There are none of the dry adult concerns about compatibility or politics or long term relationship goals – instead, the song is carefree. It revels in the bliss of the moment and the knowledge that “there is nothing I’d rather do than talk to you”. It is simply about the joy of someone’s company and how their presence makes each day a bit brighter than the last; lingering for a moment to appreciate how, as love grows and changes, the feeling of those butterflies only gets more exciting.

‘Rumblin’ Tummy’ doesn’t over complicate the moment, finding significance in simplicity. It focuses on the immediate sensations, capturing them beautifully in both music and lyrics, until anyone listening is fully absorbed into them.

Small Crush are set to release their second album, Penelope, on 15th September via Asian Man Records.

Kirstie Summers
@ActuallyKurt

Photo Credit: Trinity Gardener

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LIVE: All Points East, Victoria Park, 25.08.2023

Arriving at Victoria Park to the sound of Le Tigre blasting from the sound system by Goddess, I have a feeling it’s going to be a good day… And I’m not wrong! 

Ensuring we arrive with plenty of time to nab a beer from one of the (very well staffed and efficiently run) bars before Hastings ones to watch HotWax take to the stage, I’m ready for a day of good vibes and fantastic music from predominantly female artists in the East London park. 

Starting bang on time at 3.35pm on the West stage, GIHE faves HotWax kick off their set with the sultry, seething tones of ‘Barbie (Not Yours)’. Looking out at an ever increasing crowd, seemingly consisting of both a large devoted existing fan-base and festival-goers coming across them for the first time, the young trio deliver each immense offering with a truly immersive stage presence – their sparkling, driving energy emanating throughout. As the rich, gravelly vocals of Tallulah flow effortlessly, bassist Lola darts across the stage with a fierce charisma, and drummer Alfie’s pummelling beats pound consistently, and I’m instantly captivated by their visceral power; I can certainly see why they’ve been garnering so much hype over the last few months. Treating us to songs from this year’s EP A Thousand Times, as well as newer songs such as latest single ‘Drop’, HotWax ripple with excitement whilst losing none of their polished-yet-gritty grunge-fuelled sound. “It’s such an honour to be on this stage with so many amazing artists”, Lola gushes at one point, and I can’t help but share their sense of excitement and pride at their recent success – it’s clearly so well-deserved, and I have every confidence that they’ll continuing wowing us with their blistering offerings for a long while yet. Whilst clearly not taking any of it for granted, they ooze a quiet sense of confidence and self assurance that makes it hard not to become utterly engrossed in all they’re creating. Even when they’re told they only have two minutes left, they make every second count; delivering a ferocious rendition of fan-favourite ‘Rip It Out’ to close the set. So, thank you HotWax for kicking off All Points East in style, and thank you to my GIHE team mate Kate for introducing me to this exciting new band… I can’t wait to see and hear more from them very soon!

After a little break with some cajun fries in the sunshine, we make our way to the East stage in time for Nashville’s Be Your Own Pet. Part of their first UK tour in over ten years (and their first time on a festival stage in fifteen), they prove themselves to have lost none of their immense punk-rock energy as front woman Jemima Pearl instantly immerses the crowd in her magnetising charisma, emanating a raw empowering presence throughout. Declaring it a good day – “Trump got arrested and our new album came out” – Pearl leads the way in delivering a gloriously raucous set filled with both classics like ‘Becky‘ and ‘Bicycle, Bicycle‘ and new, but no less exciting, offerings from said album (Mommy). A pretty magnificent return to form from a noughties favourite.

Staying put at the East stage to be spellbound by the beautiful emotion-rich splendour of Angel Olsen, we then head back West to witness the raging ferocity of Amyl and The Sniffers. Having been keen to catch them live for some time now, the Aussie punks exceed expectations. As front woman Amy Taylor’s playful allure and boundless seething energy race throughout each riotous offering, I don’t even mind getting completely soaked to the skin as the heavens open and the crowd – very fittingly – mosh along to ‘Monsoon Rock’. And it doesn’t seem to bother Taylor either – “I had a feeling you’d be getting a bit wet today…”, she jests cheekily, as she continues to swirl around the stage; charming us all with her quirky, effervescent spirit.

After indulging in some tasty vegan macaroni cheese to keep me going, I’m ready to live the dream of seeing total hero Karen O in real life for the first time. And calling the experience dreamy is no exaggeration. The minute the Yeah Yeah Yeahs take to the stage, an all-encompassing majestic splendour takes hold, and I’m left completely under their spell. Whilst they remain refreshingly nostalgic (so many memories of dancing to them at The Pad in Bedford throughout the early noughties), they seem to have mastered staying relevant and truly exciting; creating a live experience like no other. From the surreal, enchanting spectacle of giant eyeballs floating through the crowd, and the band’s refreshing tongue-in-cheek wit throughout (like when O stuffs the mic down her pants), to the heartrending grace and shimmering emotion of ‘Maps’, the “Yeah Yeah Yeahs’ love song” – which O movingly dedicates to the late Sinead O’Connor – it really is the perfect set; a sparkling balance of spine-tingling rippling emotion with fierce, chaotic energy. An experience I’ve been waiting on for twenty years, and won’t be forgetting for another few decades I’m sure.

Whilst The Strokes don’t really fit with our GIHE ethos, what I will say is that I really enjoyed their set. Despite the frustration of not being able to hear everything clearly because of sound issues which were out of the band’s hands, they delivered a fantastic array of favourites, with a joyous energy and slick musicianship. 

Mari Lane
@marimindles

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New Track: CHROMA – ‘Don’t Wanna Go Out’

Having just announced the release of their debut album, out via Alcopop! next month, and with news of an exciting support slot with (my most watched band in the world) Foo Fighters next year, Welsh band CHROMA are definite ones to watch right now. And, with acclaim from the likes of John Kennedy at Radio X and BBC Radio 1’s Alyx Holcombe, their instantly catchy new single showcases all there is to love about Pontypridd’s band on the rise.

Propelled by the band’s distinctive relentless energy, ‘Don’t Wanna Go Out‘ reflects on feelings of FOMO and the pressure to go out and socialise. Raging with seething hooks and front woman Katie Hall’s fiercely raw vocals, it offers a compelling slice of biting garage-rock; a relatable and dance-able anthem that’ll cement itself in the ears on first listen, demanding multiple plays immediately.

Currently in Korea, playing DMZ Peace Train Festival, CHROMA are excited to share their debut album with the world. Entitled Ask For Angela, it shares its name with the UK wide campaign to prevent sexual assault in the UK, and showcases the band’s knack for creating empowering, inclusive offerings covering poignant topics ranging from trans rights and violence against women, to their experiences of growing up in the Welsh countryside. Of the album, they add:

“This album takes us in a direction that we as a band feel as if it affirms the sound that we’ve always wanted to create, and with thanks to Steffan Pringle and Tom E1 Mastering and Duplication, they’ve helped bring these songs to life. ‘Ask For Angela’ is no longer just ours, but it’s yours, now and forever. We hope you find as much joy in this record as it was for us to create.”

And, on their return from Korea, they’re heading straight up to London next Friday 8th September to headline for us at Shacklewell Arms – we couldn’t be more excited. It seems to be their only London show for a while, so do come and join us in moshing along to their gritty energy in a fairly intimate venue, before they hit the stadium next year!


Ask For Angela, the debut album from CHROMA, is set for release on 20th October via Alcopop! Records. Pre-order here. And make sure you don’t miss them live at Shacklewell Arms on 8th September, with support from Leeds band wormboys and Brighton’s UrgentSea – nab tickets here!

Mari Lane
@marimindles

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