Gorgeous new music from our beloved Lilith Ai – Cupid’s Got a Shotgun is out now on all your streaming jobbies, and we are HIT!
Out today from London’s favourite electro-punks, Feral Five, a floor-filling sexy-guitar banger. We challenge you not to shake your tail feather to this … and you can shake it live too, as Feral Five are joining us for our next LOUD WOMEN gig at the Hope & Anchor in London on 11 May!
Find Feral Five on Facebook, and catch them live on 11 May with Miss Eaves, TV Face and I, Doris at the Hope & Anchor in London.
Excited to bring you the premiere of Malak’s awesome new video and single, ‘VISA’.
Malak’s music reflects her mixed background – a gorgeous fusion of Western and Middle Eastern pop culture.
“I wrote Visa about being denied opportunities based on your background instead of on merit, and how certain gatekeepers perpetuate this by claiming you’re not qualified. But in fact, where I come from is the only difference between us.”
Ever wondered what the story of Squeeze‘s classic ‘Up the Junction’ might look like from her point of view? London’s I, Doris are here to tell you.
The band are releasing today (fittingly, International Women’s Day) their debut single, ‘The Girl From Clapham’ – a loving, fuzzed-up tribute to the original song, with a poignant reminder that women’s experiences are all too often erased from history.
The new song lyrics were written by punk poet Janine Booth, and published in her brilliant anthology ‘Disaffected Middle Aged Women‘. Squeeze’s Chris Difford has given the new lyrics – and the I, Doris version of the song – his personal seal of approval. All profits from the sale of the track on Bandcamp are being donated to domestic violence charity Women’s Aid.
I, Doris are a self-proclaimed “kitchenpunk mummycore” band, consisting four 40-something women, dressed in dinnerlady-esque tabards, and answering to the name of Doris (that’s Doris on guitar, Doris on bass, Doris on drums, and Doris on – wait for it – keytar). Audience members are sworn in to the Doris collective with a group pledge at the start of each gig. Their live set is 60s girl-group style pop with lashings of fuzzy punk and plenty of good-humoured swipes at the patriarchy. At least, we think they’re good-humoured.
“I’ve always loved the song, and feel so honoured to get to sing this version” she says, “I am, legit, a girl from Clapham though. My childhood and teens were spent by/on Clapham Common, mostly trying to stay out of the way of my drunk and violent father. The song strikes a big power chord for me. That feeling at the end – of being trapped in a hopeless situation – it’s painfully familiar to a lot of people I’m sure, particularly women. This is the reason I was keen for the profits from the track to go to Women’s Aid.”
I, Doris are currently blazing a gloriously happy trail through the DIY gigs circuit, and beyond – they’ve played with Mekons in Leeds, the launch of Loud Women NYC in Brooklyn, they’re playing the Royal Albert Hall on 17 March, and Rebellion Festival on 2 August. Keep an eye on the I, Doris Facebook page for news of their continued adventures.
OK Sweetheart is the soul-pop project of Seattle’s Erin Austin, and we dig it. Here’s a first spin of ‘We Could Have it All’ – an instant kick of bouyant sunshine you’ll be humming for the rest of the day. Enjoy!
Erin Austin says:
“The song is a commentary on the American Dream. Watch the first
episode of Cosmos and then think about the American Dream. The system we have is broken but we’re so busy abiding by it (so we’re not
swallowed by it) to do anything to actually fix it. We’re so busy
selling ourselves to ‘have it all’ that even if we did get to a place
where we feel like we’ve checked the boxes to fulfill the American
Dream, we still would question our purpose and have to grapple with
the meaninglessness of life.”
In addition to OK SWEETHEART, Austin is part of Seattle supergroup, LADIES, with Lydia Ramsey and Miranda Zickler (Kuinka). LADIES released three holiday songs in November 2018. She has also recorded an EP with LA-based electronic soul-pop duo LETS, who are set to release music in 2019.
London’s beloved DIY duo Panic Pocket (Sophie Peacock and Natalie Healey) have a fab single out today, ‘Mr Big’! LOUD WOMEN is excited to bring you a first listen.
‘Mr Big’ is, they say, the result of too many formative Sex And The City marathons. It’s about desperately wanting your close friend to stop defining herself by her relationship status and focus instead on friendship. Hard relate! Natalie says:
“Sophie and I probably spend too much time watching TV. But whatever your thoughts on SATC (and, OK, it hasn’t dated well!), you can probably relate to having someone close to you who spends all their time distracted, wondering where they stand with a potential – and probably unworthy – partner. This song is our Miranda moment; getting real about how toxic the subject of your best friend’s obsession really is.”
“Take your best friends on dates and treat them like your soulmate because chances are, they’ll love you better than any Manhattan investment banker ever could.”
The track was recorded at the legendary Dean Street Studios, thanks to the generosity of King of the Scene, Keith Top of The Pops, with Healey and Christabel from Wolf Girl on bass and drums respectively.
LOUD WOMEN is stoked to bring you a first listen – enjoy!
Catch Panic Pocket live on 8 December at The 1 in 12 Club Bradford w/ Fightmilk and Ghost Guilt.
Southern California’s pop duo hyps are Keena Batti and Molly Falck, and they’re treating Loud Women today to an exclusive first listen to single ‘Taix Messages’, from their forthcoming EP, ‘Feed’. It’s a gorgeously jangly sing-along-in-the-car pop song with just enough sexy guitar and lo-fi production to make it instantly adorable. Keena says of the track:
“I started writing ‘Taix Messages’ about a relationship from several years ago, but by the end of the writing and arranging process, it was apparent I was actually reflecting on the slow degeneration of the relationship I was in at the time. Because processing a breakup is cathartic, you often get a sad, down-tempo song, but that doesn’t have to be the case. After wrapping my head around the end of the relationship, I realized that endings aren’t necessarily always sad. As painful as that process was, I love that the end result is something sonically joyful.”
Immediately engaging, feed is infused with both an unreserved optimism and a tinge of creeping anxiety. “These songs feel liminal” says Falck. “They’re the product of that transition between our post-college years and young adulthood when nothing is quite settled and everything feels significant. There were break-ups, and new relationships, and jobs, and firings, and failures, and joys.”
While our heroines both grew up steeped in music (“For 8th grade graduation, my parents got me a purple Strat – that was the moment I knew I was going to be a guitar player forever,” says Batti. Falck got her start as a kid “performing in tons of musicals – my first role was in Kittens, a dumbed-down version of Cats.”), it wasn’t until their paths crossed during a summer p
rogram at Cambridge University that they found their musical soulmates. The two clicked instantly, and on their return to Berkeley they began practicing constantly; eventually working up the nerve to try busking on the aptly named College Ave. They made $40, and a dream was born.
After graduation they followed that dream back to Los Angeles and threw themselves into making it a reality. They landed a residency at The Old Palace in Malibu, and, as Steps of Doe, recorded their debut EP On Returning with bass player / producer Devon Geyer (Decorations). In 2017 they left The Old Place, changed their name, and began recording feed at Bedrock LA in Echo Park. Produced by hyps, the record features performances by Ricky Cruces (guitar), Edo Tancredi (drums), and Brian Narvy (bass).
Though they may be sonic soul sisters, Batti and Falck write the bulk of their music independently of one another. “We present them at rehearsal and do the arranging together,” explains Batti. “It allows each song to have its own identity, but arranging together gives it the hyps sound.” Lyrically, the songs on feed are tinged with nostalgia. “There’s always an undercurrent of yearning for things past in everything we write,” says Falck, “whether it’s a past love or a past version of ourselves.”
Moreover, their songs all come from a place of feeling like an outsider; whether it’s feeling alienated in your own relationship, your social circle, or your chosen profession. “We’ve always felt like we weren’t taken seriously as musicians. We play multiple instruments and write all our own music. We lead a band and produced these songs,” says Batti, “but as women, we’re constantly second-guessed by our peers. We want other women to see that they can do this shit too.”