Tracks Of The Week #12

Tracks Of The Week #12

Let’s Eat Grandma – HOT PINK

Let’s Eat Grandma are back with their fantastic new single ‘HOT PINK’, which is out now via Transgressive Record. And it’s the best thing they’ve released to date. Teenage vocalists, multi-instrumentalists and songwriters Rosa Walton and Jenny Hollingworth, have worked with the producer SOPHIE and Faris Badwan and mixer David Wrench for  ‘HOT PINK’ and the results are brave, bold and brilliant, fierce couplets and thunderous robotic-pop production make ‘HOT PINK’ both exciting, powerful and empowering throwing off the gender straight jackets with lustre of Charli XCX meeting Shampoo. Following on from their debut album, I, Gemini, the first shot suggests the second act could top their first. (BC)

The Golden Age of TV – Beast

Leeds’ quintet The Golden Age of TV deliver an elastic art-pop song ‘Beast’ fizzing riffs, playful synths, punctuated by twitching drum strikes, it grows into rushing exultant choruses. These choruses fill the room like coloured smoke: threaded by vocalist Bea Fletcher’s vocals which are at once strident and evocative: shivering with a kind of panic and giddiness encapsulating the shifting feelings of growing pains: “It’s telling a story from my childhood, during that cross-over period when I had to be more independent.” She says “It was little things; facing my fear of the dark or going to the toilet on my own without my mum standing outside the door. The change and stress manifested into dreaming and imagining a monster coming after me. I’d see it everywhere I went. It sounds a bit trippy. But I guess growing up is?” (BC)

Chow Mung – Nunavik

Experimental Welsh avant-pop artist Ash Cook is back with a new EP and another at times bizarre yet illuminating take on songwriting this time ‘Nunavik’ comes in the form of throat singing looped and laced with samples and melody, its produces unique results! He explains “Inuit throat music is traditionally performed between two women. The songs are sung as a friendly competition; played as a game. One person sets the rhythm, the pace the sound and the other follows. The first person to outlast or not laugh is the winner. I decided that I wanted to explore this style of vocal expression in a set of recordings as a way to try and deconstruct my own notion of how a voice should be used in music. I also wanted to combine the results of these experiments with my own interests in sound art, audio collage and pop culture.” (BC)

Wild Arrows – Dreamlike Dream

Brooklyn’s Wild Arrows captivate with a widescreen beauty ‘Dreamlike Dream’ from their new album, puncturing drums, divine vocals that stand firm, strands of synths and a clattering rhythm that strides into the light. At once elegant and gorgeous Mazzy Star may be a reference point but this is this is a song with real teeth and breadth, balancing light and darkness, melody and instrumental and captivating in one measure, swelling to glorious Morricone laced crescendos. (BC)

Mt. Doubt – Conduits

Edinburgh’s Mt. Doubt release ‘Conduits’ today, as it so happens.  ‘Conduits’ is a glorious, shadowy pop track that echoes Slow Readers Club with a slight ’80s synth twist thrown into the mix for good measure.  The track moves and grows and crashes like the sea in high winds, itself a wide, picturesque scene that unfolds from beginning to end.  What’s more, the track is available right now on Scottish Fiction and you can pay whatever you want.  Isn’t that nice of them? (TS)

  1. I’ve seen Let’s Eat Grandma three times and I’m struggling still to understand them. Once you’ve gravitated beyond the notion that they are really the Denton sisters from League of Gentleman and that they are suddenly going to appear behind you, and dismissed their often bizarre on-stage antics, they are quite talented musically. The phrase you often see associated with them is ‘re-defining pop music’ but to what, I ask? Pitchfork described this as “glossy club-ready pop”. Really? They seem to lack focus in the same way as does Kiran Leonard, another precocious youngster but one who also drifts all over the place in his songs. (Check the 16-minute long Pink Fruit for example, no connection to this one). Hot Pink’s message is lost in the overly pervasive trap-like beat and the strange voices-off. While the opening section is a little too Naaz-like for comfort they might have been better off sticking to that formula throughout the song. From 0:50 it’s all downhill.

  2. Fair enough David, its all subjective and your review is as worthy as mine, I must admit nothing they’ve done has excited me until now. I rather like the balance of melody and attitude and the rather abrasive production.

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God is in the TV is an online music and culture fanzine founded in Cardiff by the editor Bill Cummings in 2003. GIITTV Bill has developed the site with the aid of a team of sub-editors and writers from across Britain, covering a wide range of music from unsigned and independent artists to major releases.