“SONG FOR EWE”
with HANNAH GLEDHILL of H. GRIMACE
“SONG FOR EWE” is the feature where artists & music people beloved by VELVET SHEEP choose an obscure song they’ve been listening to that day. In a double header today’s second guest is singer/guitarist of new London based post-punk combo H. Grimace.
They’ve got an album coming in April called “Self Architect”, whose first track “2.1 Woman” features poet and artist Vivienne Griffin who “critiques the constant pressure on women to keep bettering themselves” and there’s a great single called “Land/Body” which is like Tall Firs, Sonic Youth and Wire, ready for the last chapter of the anthropocene, echoing with the lapping of sine waves and the urgency of the Melbourne via Londinium Kim Gordon. Welcome to Velvet Sheep, Hannah Gledhill!
H. Grimace have been building up a groundswell of support through a popular cassette release “I Am Material” and a 7″ called “Royal Hush” and if “Land/Body” is anything to go by, the debut album proper is going to be an intriguing prospect, Menace Beach meets MBV. With Hannah’s guitar lines duelling with Yorkshire born Marcus Brown, their wall of noise can claw back the alt. to alt. rock and the only distorted facts are the fact that their instruments are distorted by fully floored FX pedals.
They’ve been produced by Rory Atwell and mixed by he and Ben Greenberg formerly of cult heroes The Men and currently with Sacred Bones outfit Uniform who they toured with last year. Here’s the artwork which reminds me of the ace Heads spin off Antroprophh’s last album with a more feminine edge.
H. Grimace are playing the Old Blue Last in London’s Shoreditch on 26th March and at Rough Trade East on 13th April, but in the meantime, here’s Hannah’s “song for ewe”…
“This tune is one off a beautiful tape I actually got at her show in London a year ago. Her music is pretty far from what we make as a band but what I love about her and her performance is her unapologetic approach to making music. It’s melodic, pretty, sad, bewitched, technical, at times very sexualised and sometimes uncomfortable, not to mention her live shows which are always very unique.
Her work is something I use as somewhat of a reference as to what is achievable as an artist or musician, very much unafraid to delve into genres, styles and lyrical content. I’m sure in future work she will continue to challenge the audience and herself.”
THANKS TO HANNAH AND FRANKIE OF STEREO SANCTITY