Like the ominous skies before a storm, Bristol-based foursome Grandmas House's debut, Baby You're A Winner, captures both the light and dark of human connection through riotous rock anthems, whipsmart storytelling, and moments of startling tenderness. As the interlocking guitar and choral harmonies of title track ‘Baby You’re A Winner’ swirl into your subconscious, you might be expecting an easy introduction from Grandmas House. But this Bristol-based foursome’s foundations are built on dancing the fine line between dark and light. This mission is deadly apparent from the moment Zoë Zinsmeister’s rumbling basslines kick in. The band’s debut is heavy with opposing elements: melodic and abrasive, intimate and chaotic, carefully composed yet riotously riveting.
And that’s no truer than in their standout vocal delivery. Guitarist Yasmin Berndt’s signature snarl cuts through the UK’s current post-punk landscape (but, if pushed, recalls the unpolished growl of Fontaines DC’s Grian Chatten). Drummer Poppy Dodgson adds a striking second lead vocal presence, while bassist Zoë Zinsmeister brings a third layer to the group’s often sinister harmonies.
Band founders Berndt and Dodgson met at university, bonding over left-field indie acts like Shame and Goat Girl. But it was another foursome who encouraged them to pick up their own instruments. “Seeing The Big Moon live before we’d played any shows inspired us so much,” recalls Dodgson. Relocating to Bristol, the pair moved in together and recruited Zinsmeister on bass and, later, Polly Jessett on lead guitar. The catalyst to perform came from the heart of the welcoming, creative community, though. “We told the guy who owns The Thunderbolt we were writing songs, and he was like, ‘Right, you’ve got a set!’” laughs Dodgson. “Without that push, I don’t know if we would have been brave enough.” After a handful of EP releases and time testing new material out on the road, Grandmas House headed into the studio to lay down their debut with producer Ali Chant (PJ Harvey, Yard Act, Perfume Genius) to translate the intensity of the band’s live shows into something more expansive. “Our music is hard to capture on recordings as it's got so much energy,” says Berndt. “Sometimes we'd be like, 'This is a lot more powerful live. How can we make it as powerful?’”
That power exists in Grandmas House’s ability to handle life’s big moments with tenderness amongst the rollicking riffs. Echoing Big Thief’s knack for vivid storytelling, the band's debut paints a keen portrait of love, grief, and the bittersweet balance between sadness and catharsis, as Dodgson explains. “We wrote this album about the existential crisis of going through life. It’s about love and infatuation, but also about grief and loneliness. It’s emotional,
powerful, and a good time all at once.”
The record also gives voice to physical vulnerability and emotional imbalance. Thunderous lead single ‘DOG’ reflects on chronic illness and dismissive medical treatment, with Berndt spitting bitterly. “Got you growling through gritted teeth / The doctor always said this pill is all you'll ever need.” The surprisingly sombre tones of ‘Soaked’ explore queer love, as Jessett’s tender guitar lines soar through into a cathartic release akin to Marika Hackman’s Big Sigh. But there are also huge rock chops at play across the record, too.
‘Dance’ is a live set staple drawing inspiration from the band’s recent tour support alongside Midlands giants, Big Special. Elsewhere, ‘The Table’ was also honed out on the road, and confronts the end of a relationship. “We've been playing that one for such a long time. It started much more punky and has since become a big rock anthem,” picks up Dodgson.
Equally abrasive, ‘Next Big Hit (Choo Choo)’ robustly rallies against the scoffing of women in the music industry with crushing distortion over Berndt’s deadpan delivery, and a needling lead line that slams into you with the force of a freight train. Even the album’s softer moments feel intensely physical. ‘Blue Oblivion’ describes these all-consuming feelings as a “stone at the bottom of my lungs,” while standout ‘Taxidermy’ insists on wearing their love interest like a coat. Alongside the deeply human connections — grief wrapped up in illness (‘I Miss That House’) and the heartbreaking acceptance of letting go (‘How It Is’) — there’s a strong current of nature running through the record, which Dodgson traces back to her love of poet Mary Oliver. In ‘Baby You’re A Winner’, Berndt sows the sentiment lyrically, “If I planted a flower every time that I missed ya / I could walk through my garden, trying to forget you.” In Grandmas House, a glimmer of hope peeks through towards brighter days. As Jessett admits with album closer, ‘Spring’, “We wanted an emotional, stripped back moment on the album and wrote this with that intention.” For all the darkness threaded through Baby You’re A Winner, moments of light emerge in the form of unwavering friendship and pointed storytelling about what it feels like to truly be alive.
Lilac Attitude steht für: Pogo-jumping rhythms +++ Noisy licks +++ dreckig-kitschige vocals
+++ Diversity & hope for planet earth.
Ihr Name ist Lilac Attitude, und das meinen sie auch so! Es ist nicht nur ein Name, es ist ein Lebensgefühl: Weiterzumachen und dem Herzen zu folgen, egal was kommt. Mit dieser Unbekümmertheit gehen sie auch die eigene Band an: Jacky (Main Vocals, Keys) und Daisy (Gitarre) lernten sich beim Saufen, Sprayen und Biertaufen in einer fremden Kirche kennen, dazu kam Flatmate und Musikfreak Raku (Bass). Und zuerst kamen die Konzerte und erst dann wurde geprobt. Letztendlich ist es wohl der Jüngste und Neueste in der Band, Beatkeeper Squid (Schlagzeug), der ihnen an den meisten Tagen den Takt vorgibt. Bei Lilac Attitude geht es um das Ausleben von Fantasien, darum, das Leben bei den „Hörnern der Syringa“ zu packen und das Ergebnis ihrer Musik ist genau davon geprägt. Der Sound ist getrieben, grungy, unbändig, ehrlich und hoffnungsvoll. Sie nennen es «Floral Grunge».
