Five Favourites: Ratboys

After more than ten years together, Chicago’s Ratboys have now announced their fourth album, The Window, set for release on 25th August. I’m not quite sure how or why I’ve only just come across Ratboys, but they’re new favourites for sure! Taken from the upcoming album, recent single ‘It’s Alive!’ is filled with all the dreamy, lilting hooks and fuzzy allure I could ever need, and Julia Steiner’s vocals are sugar sweet perfection.

We think one of the best ways to get to know an artist is by asking what music inspires them. So, to celebrate the release of The Window, we caught up with Julia from Ratboys to ask about the music that has inspired her the most. So, read about her five favourite albums, and make sure you check out the album next month, and watch the video for ‘It’s Alive!’ below!

Sufjan Stevens – Age Of Adz
Without thinking too hard, I can honestly say that this is my favourite album of all time. For a long time I kept a CD copy with me anywhere I went, in my purse. It almost felt like a totem, like something to ground myself against and remind myself in weird times – “Okay, this amazing, insane thing still exists and will always continue to exist.” The mix of soulfulness and coldness and playfulness on this record continues to baffle me every time I listen. Like, the stakes seem sky high, but Sufjan is clearly having a blast. Talk about a fully-realized, simply maxed-out piece of work. What the hell?? The final song on the record – ‘Impossible Soul’ – clocks in at slightly more than 25 minutes long and honestly sounds like an entire album unto itself. Sufjan’s at the height of his powers on this one y’all, highly recommended.

The Dodos – Visiter
When I first met our guitarist Dave in college, we did the classic millennial early friendship move of burning CDs for each other. We made mixes, and we also burned full albums for each other – ones that we thought the other hadn’t heard before and might like. I remember that Dave burned me a CD with this entire album on it, and I’ve loved it ever since. This record, maybe more than any other, reminds me viscerally of a time of year (Autumn) and of a time in my life (specifically late 2010, when I was 18). I love how sparse and yet totally complete it sounds. I love how deceptively fast the songs are. I love how the acoustic guitar takes centre stage on every song and also how so many of the songs go places you wouldn’t expect them too. What a perfect tracklist and album sequence. What a lovely trip.  

Deerhoof – Apple O’
This is an album where I remember the exact moment I discovered it. I was in San Francisco in 2013 doing sports coverage for our college magazine, and I managed to get over to Amoeba Records during some downtime. I found this CD in the “local favourites” section and bought it impulsively based on the album art alone. I’ll never forget sliding it into my car when I got back home and getting completely sucked in by the whirl of drums and guitars that came tumbling out of the speakers, like a cyclone. There is so much joy and so much fun apparent in every song on this record… It just sounds like the love of music-making distilled, like four friends having the best time ever in a room together with their instruments. I’ve seen Deerhoof live many times since then, and they always make me smile like an idiot, without fail. Continually the best reminder that making music should be fun!


Juliana Hatfield – Blood
This was probably my most-listened-to album during the era of the pandemic. I simply couldn’t get enough of it (probably much to the annoyance of my bandmates… sorry! Haha). I first heard ‘Had a Dream’ on a college radio station here in Chicago, and I remember I pulled off into a parking lot to Shazam the song and look up the artist. I hadn’t heard of Juliana Hatfield before this album, but I found out that this is her nineteenth album. I was so late to the party, but better late than never, right? This album is truly wild. A lot of it was recorded using drum presets in Garageband. I just love the way it sounds; I love Juliana’s voice and the biting lyrics and the off-the-wall instrumentation. For an artist this far into her career, this record is almost unbelievably adventurous. Who else is making music that sounds like this?? I’m seriously asking, I want more. Also, this record was a great gateway for getting into the rest of Juliana Hatfield’s discography – it’s well worth a deep dive. 


NNAMDÏ – Please Have A Seat
For lists like this, I’ll always include whatever the latest record is from Chicago legend Nnamdi Ogbonnaya aka NNAMDÏ. We’ve been friends with Nnamdi for a long time, ever since Dave and Sean started playing and going to shows at his former DIY house venue, Nnamdi’s Pancake Haus. Nnamdi is one of the most talented drummers ever, and he was always in a million bands, but he started releasing his own music on Bandcamp sometime in 2013 I think. Each album captures his big heart, brilliant instincts, and wide-ranging musical interests, in such a way that I genuinely can’t wait to hear whatever he makes next. You never know what the next record will sound like, and within those records what the next song will sound like, and within that what the next section of each song will sound like. I love artists that do whatever the fuck they want, who aren’t bound by genre concerns or hangups about aesthetic consistency… Nnamdi is the G.O.A.T. in that respect, both in Chicago and everywhere he goes. This latest record is no exception- check out ‘Dibs’ – you’ll see what I mean.


Massive thanks to Julia from Ratboys for sharing her Five Favourites!

The Window, the upcoming fourth album from Ratboys, is set for release on 25th August via Topshelf Records. Pre-order here. And watch the recent video for ‘It’s Alive!’ below:

Photo Credit: Alexa Viscius 

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LISTEN: Queen Cult – ‘Blackhole’

Queen Cult vocalist and guitarist Maisie Johnson describes the Macclesfield band’s new single ‘Blackhole‘ as a song she wrote to herself during a difficult time. Examining that period following a break up when you re-evaluate your life to figure out what it looks like without that other person’s influence, the titular blackhole is the dark place inside your own head when you struggle to stop overthinking and end up losing your sense of self.

It begins softly, with gentle chimes creating a drifting sensation, making you feel lost in an atmosphere of confusion. The signature Queen Cult guitar leaps in with a quicker tempo, but that initial feeling lingers beneath.

The lyrics acknowledge the pain of the person you normally turn to when you have difficult things to work through being the one person you can’t turn to now. They’re direct, but are delivered with depth, amplified by the strings roaring beneath them. It almost feels like a conversation as they echo the things you might hear from well-meaning friends trying to be comforting, but equally could be simply the platitudes you tell yourself to hurry up the healing process. They capture the internal conflict, jumping between “Tell myself I’m gonna be fine” and “Don’t tell me time will heal / Babe, I’m still allowed to feel”.

Despite being explicitly drawn from one particular experience, this track focuses so well on that internal personal introspection that it’s easy to project your own experiences onto; that period of readjustment is necessary, no matter how the relationship ended. Queen Cult have nailed that sweet spot where this song is simultaneously intensely personal and universally accessible.

‘Blackhole’ takes you on through the entire process of healing and growth, flowing between the different emotional stages – the loud, roaring confusion as you work out the new shape of your life. Both the tense impatience of wanting to be able to move on and the frustration at the entire situation juxtaposed with the softer moments that drift between sad reflection on the lost relationship and a hopeful, positive look towards the future. Finally, it reaches the upbeat sense of making progress and the feeling of relief and empowerment from things starting to make sense again.

Kirstie Summers
@ActuallyKurt

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LIVE (Photos): Higher Ground Festival @ The Roundhouse, 15.07.2023

Last weekend, we were lucky enough to escape the gales and flash floods by seeking shelter in the historic and legendary Roundhouse, in the company of some of the most wonderful musicians. Higher Ground Festival brought together a line-up of predominantly female, genre-defying, artists for an evening of immersive music and unifying vibes.

Following some uplifting funk-fuelled sounds from DJ Tina Edwards, Irish artist Aoife Nessa Frances kicks off the live music with a beautifully stirring set. As her husky tones flow seamlessly alongside sweeping ethereal soundscapes (at times with some impressive one-handed soulful sax thrown in!), the shimmering grace of tracks such as ‘Emptiness Follows’ ooze a captivating, blissful charm.

Next up, Tawiah takes to the stage accompanied by six choral singers to deliver an immensely moving performance of last year’s Ertha – a concept album, chronicling our journey from birth to death. An utterly unique blend of alt-soul, gospel and R’n’B, Tawiah emanates a sweeping majesty and deep spiritual resonance throughout, captivating the audience with a celestial splendour. As well as being blown away by Tawiah’s breath-taking vocal range, we’re treated to a range of different sounds, from scatting to rich clarinet, all whilst she platforms the individual talent of each of the other impressive singers sharing the stage with her. A truly memorable experience, I feel honoured to have been in the company of such a colossal presence.

I think we worked out that this will have been the sixth time we’ve seen Manchester based The Orielles live, and it’s been wonderful to see them go from strength to strength and continue to create their unique offerings over the years. A very different (but no less exciting) experience from first seeing their raw buoyant energy at a very sweaty The Victoria nearly a decade ago, this performance sees Sid, Esmé and Henry joined not only by Emily Zurowski on keys, but also by a string section, to deliver unique creations from their 2022 album Tableau. Whilst I have to admit that I had been a little worried I might have missed hearing any of their older material, my concerns were unfounded: it seems that whatever The Orielles do, they maintain the ability to completely captivate – to instantly immerse the audience with not only their insightful and sophisticated songwriting and layered musicality, but their distinctive swirling energy and fierce charisma whilst on stage. They are a truly one-of-a-kind band, whose dedication to – and innovation in – honing their craft continues to inspire and excite me more with each release.

Having seen The Staves fairly recently at The Barbican for their special 10th anniversary show celebrating debut album Dead & Born & Grown, I was extra excited to see what they had in store for us for their headline set today. Although this evening saw the infamous trio reduced to just two siblings, Jessica and Camilla (with Emily presumably on ‘mat leave), accompanied by a full band, they maintained all the enchanting allure and endearing charm we’ve come to know and love. From ‘classics’ such as ‘Mexico’, through to ‘Teeth White’ and ‘Tired As Fuck, the sisters’ distinctive rich, celestial vocals emanate a harmonious perfection, whilst a subtle gritty energy twinkles cheekily throughout. Expressing their gratitude for being here, and paying dues to the female line-up (though hoping “for a time when all female line-ups aren’t a thing”) by ending the set with the empowering grace of ‘Good Woman’, The Staves continue to exude an exquisite grandeur and euphoric warmth with everything they do.

A glorious evening, celebrating the diversity and magnitude of female artistry. Thank you to all the amazing musicians, DJs and to Higher Ground and The Roundhouse for putting on the event.

Words: Mari Lane / @marimindles
Photos: Paul Dawes / @pauldawesart

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INTERVIEW: Kate Webster of Deer Shed Festival

Last year I attended Deer Shed Festival for the first time, and I promised myself it would the be the first time of many as it was such a glorious weekend! Having not been to a festival for a few years, I was keen to find one that was as lovely as possible, and suited my needs of being perhaps a little older than the average festival-goer without missing out on any of the best new music. I wanted a festival that was inclusive, chilled-out, family friendly, and of course hosting plenty of amazing female and non-binary bands and artists… And Deer Shed more than delivered on all fronts.

Highlighting a real family-friendly focus, whilst hosting an incredible range of exciting new artists, the North Yorkshire based Deer Shed perfectly filled the festival-shaped-void I’d been feeling, and – with highlights from last year including Self Esteem, CMAT, Straight Girl, Nadine Shah and Denise Chaila – I cannot wait to return in a couple of weeks.

We caught up with festival director Kate Webster to talk more about Deer Shed’s roots, its ethos and inclusive line-up, some of the most special Deer Shed moments of years gone by, and more… Have a read below, and have a listen to our special Deer Shed 2023 playlist, featuring some of our personal faves who’ll be playing at the festival this year, at the bottom of this feature!

Hi Kate! 2023 will be Deer Shed’s 13th year – hopefully lucky for some! Can you tell us a bit about what Deer Shed is all about, and how it all started out?
Deer Shed Festival is a boutique music, arts & science festival based in North Yorkshire parkland, aimed at families who don’t want a dumbed down experience just because you have kids in tow.

What strikes me about Deer Shed and makes it stand out against other festivals at the moment is the good gender balance of the line up – was there an intentional and specific decision to do this, or does it just naturally pan out that way?  
I booked the festival up until our 11th year and initially it happened unconsciously just because of the music I like. After a while, we decided it make it a policy of the festival that our gender split should be 50/50 and also at least one of the headlines needs to be female and/or non binary. It’s been great – because of our size we have been able to give some deserving acts the chance of a festival headline. Can you believe that we gave Goldfrapp they’re first festival headline in 2018?! I find that bonkers!

Over the last 12 years, you’ve hosted some amazing bands and artists including Self Esteem, Nadine Shah, CMAT, Kae Tempest, Anna Calvi, Big Joanie, Ezra Furman, The Go Team! and Honeyblood, but has there been a particular set that stands out for you as a personal highlight over the years?
Kae Tempest for sure. It was 2017, they were promoting Let Them Eat Chaos which is a phenomenal album, and it was also their first festival headline. The actual performance was extra special to me and many of the audience that evening.  The skies darkened, the rain poured and in the distance, lightning flashed. It meant, for those who stayed (and a lot did), the whole experience was electrifying and so moving. I still get shivers now when I think about the power of that evening. It was like nature knew what the backdrop should be for that performance.


And this year you’ve got some GIHE faves playing (The Big Moon, Dream Wife, This Is The Kit, English Teacher, Sprints…). Curating such awesome line ups must be a lot of work – how do you normally go about it? Is it all based on bands/artists that have got in touch with you over the year? 
We’ve had a booker for the last couple of years – I think Covid meant the job had got harder and I needed a break. It was also a good time to get some fresh ears to help. However, as festival director, I still want input and I think next year we’ll bring it in house again. We generally start with a wish list and play fantasy festival which is great fun; the whole Deer Shed team are into music, so everyone chips in and has suggestions of who they have seen perform during the year or might have new music coming out. We talk to friends in the industry and agents, so see what’s going on. Practically speaking, we only start making offers in Autumn, so that’s the best time to contact us. We must get the headlines in place before moving down the bill which can take some time.

And for any upcoming bands/artists looking to apply for festivals next year, do you have any tips?
Start building a live following in your local venues. Practice to become a great performer and engage with your audience. A festival crowd is different to your own show – you have one song to win them over! Whilst a lot of artists get an online following and good streaming numbers, it doesn’t always translate to live.

There seems to be a definite focus on making the festival as family-friendly as possible, and when I was there last year it just had the nicest, most relaxed vibes I’ve ever experienced at a festival! What inspired the idea to do this, and stand out from other festivals in this way? 
When Oliver and I decided to give it a go, it wasn’t long after festivals like Latitude & Camp Bestival had started and there was no one doing anything similar in the north. I couldn’t see live music like I had done because of family commitments, and many events near by didn’t offer me the chance to see great music and have the kids entertained. So, Deer Shed was really built for me & my friends initially – music fans who happen to have kids. It turned out there were other people like me!

Do you feel much has changed over the last few years in the music industry’s treatment of new artists, particularly female and non-binary artists? 
I think there is more awareness of mental health and agents/managers are now more mindful over booking artists. I also hope the idea of booking a tokenistic female/non-binary act has come to an end… But I do still worry that some young female artists are led a certain way on how they present and what they wear. There seem to be some genres of music where I’m not convinced that a stylist/photographer/label didn’t have a brief to come back with a certain look.  

Finally, as we’re a new music focused site, are there any particular new bands or artists you’d recommend we check out?
I’m totally excited that we managed to book Grove this year. I know they’re not that new but their energy, style & music is infectious. So good live! I’ve not seen Pet Snake live yet, but I’m loving the Liverpool based artist – alt folk/indie at its best, just great songwriting.  

Massive thanks to Kate for answering our questions, and for organising such a stellar festival year on year! Deer Shed Festival 2023 is taking place from 28th – 30th July and headliners include The Delgados, The Comet Is Coming, The Big Moon and This Is The Kit – more information here.

Get ready for the festival by listening to our playlist of brilliant bands playing this year here:

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