LET'S EAT GRANDMA

Rosa Walton and Jenny Hollingworth were just 17 when Let’s Eat Grandma released their debut I, Gemini. Childhood friends who grew up writing songs that, over time, emerged into something quite magical. Call it experimental sludge pop, bubblegum-psych rock, it was a marriage of magnificence and makeshift, with synths, saxophones, clapping games, recorders, and secured them sold out shows, critical acclaim, a spellbinding turn on Jools Holland; their audience drawn to the strange beauty of their music, to something compelling and otherworldly.

Two years on, and I’m All Ears is an even greater revelation: the most startling, infectious, innovative and thrilling record you’ll hear this year — alive with furious pop, unapologetic grandeur, intimate ballads; with loops, Logic, outrageous 80s drum solos, as well as production from David Wrench (The xx/Frank Ocean/Caribou) and SOPHIE (famed for her own material, as well as work with Madonna, Charli XCX, and Vince Staples) with Faris Badwan (HMLTD, The Horrors); an album that cements Let’s Eat Grandma as one of the most creative and exciting bands in the world right now.

It is, the band say, a portrait of their lives over the past two years, as they have grown as musicians, but also as young women, finding their way through new territories, navigating friendships, romantic relationships, mental health, the ever-restless presence of technology. It draws on their love of PC Music, Frank Ocean, the record collections of their parents, ringtones, train journeys, vintage synths.

With a heart-stopping voice & wide ranging instrumental talent, Odetta Hartman carries cowboy soul into an era
where country can clash with computers & bluegrass isn’t afraid of bass. Her debut LP 222 - an experimental, bedroom-produced hybrid of folk, musique concrète & psychedelia - was released on Northern Spy Records in 2015 to critical acclaim.

Odetta Hartman’s newly released 2nd album, Old Rockhounds Never Die, is a bonanza of beautiful contradictions: intimate yet fiercely internationalist, spiritual and yet tangible, sweet and also sexy. It convenes with the ghosts of the past while marching relentlessly forwards.

Produced by Jack Inslee (of Full Service Radio), Old Rockhounds Never Die continues to explore this uncanny sonic vernacular woven with badass banjos, detuned violins, field recordings, superstitious soundscapes, and vocal stylings ranging from sensual to spooky.

In a musical ecosystem where singular is overused and haunting is all but nauseating, Hartman and Inslee’s work here is deserving of such accolades. There is nothing quite
else that ties together such imaginative incongruence with ease, a quilt of scraps that cannot be replicated. What should be a hot mess is a marvel, a constellation of sounds shining bright and mysterious.

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