East Blam – March 2016
The F Word – December 2012
TYCI – March 2016
The Devil Has the Best Tuna – September 2013
Pillow Fort EP
The Von Pip Musical Express
East London singer/songwriter Hannah Lucy who releases music under her “Gaptooth” moniker returns with a brand new EP. The Pillow Fort EP showcases her caustic wit, ear for melody and clever wordplay as she confronts issues that are close to her heart. She describes the EP as “a collection of melodic, guitar-fuelled electro-pop songs.”
We’ve picked ‘Good Guys’ from the EP as our track the day (although it could have been any off said EP) as it adroitly demonstrates Gaptooth’s ability to create electronic pop that is instantly catchy whilst shining a light on gender politics – in this instance the perils of everyday sexism in the dating arena. Her trademark razorsharp observations reveal a justified anger – are certain attitudes endemic? and her sense of exasperation is encapsulated perfectly in lines such as “I’m tired of all the men who think that they know best /and lecture me on sexism whilst talking to my chest”. Gaptooth’s brand of engaging feminist pop takes no prisoners but does so with warmth, wit and intelligence whilst providing plenty of food for thought.
The Flux Presents (Declan Mills)
East London singer/songwriter Gaptooth (Hannah Lucy) has released a new EP, Pillow Fort, written, composed, recorded and produced entirely by herself. Expanding on the electroclash-riot-grrrl-punk fusion of her earlier releases, it is an exciting and satisfying collection of four short sharp blasts of wit and musical prowess. Lucy approaches important subjects such as feminism and warfare with a wit and warmth equal to that of Lionface’s Kat Marsh or Sonic Boom Six’s Laila Khan, and she has crafted an EP that is well worth multiple listens.
Opening track “Stay Away From Me”, an ode to finally cutting a toxic ex out of one’s life (and Facebook newsfeed), combines choppy guitars and keyboards with sneering, witty lyrics reminiscent of Jarvis Cocker or Jesse Lacey. Lines like “Our destruction is now mutually assured/I see no difference between love and war anymore” and “I’ve a right to take up space” both accurately describe the emotional fallout of a toxic relationship and brought a smile to this reviewer’s face.
Speaking of Jesse Lacey, second track “Good Guys” opens with the statement “Lately I’ve confirmed what I’ve already known/that dating makes me want to stay at home”, which made me immediately think of Brand New’s “Last Chance To Lose Your Keys” with its refrain of “You make me feel like I’m better off/home on a Saturday night/with all my doors locked up tight.” What follows is a shimmering-yet-punky and incredibly hilarious dissection of the awkwardness of modern dating, ingrained sexism, and the endless search for an intelligent, attractive and genuinely feminist man.
Next up is “Such A Girl”, which is heavier on electronics and lighter on guitars, in which Lucy turns her wit on a new target – toxic masculinity and the repressing of emotions. Arguing in favour of actual emotional honesty instead of stiff upper lips and telling people to man up, the song has an anthemic quality that will have you singing along before the halfway mark.
Finally, “I Built A Fort” pulls the metaphorical camera back a little to take in Lucy’s reactions to global politics, the looming oil crisis, war, and racism. Her solution to the depressing global situation as put forward in the emotional sugar-rush of a chorus? To build a giant pillow fort, declare her intention to never leave, and invite anyone like-minded to join her. I don’t know about you, but I’m in. As Hannah Lucy says on the middle-eight “If you’re fucked up and you know it, clap your hands.”
In short, it is only the beginning of March and I may have found one of my top three releases of the year. This is an essential purchase for anyone with even a passing interest in alternative music, feminism or good old-fashioned witty and intelligent lyrics.
Verdict – 5/5
The Electricity Club (Monika Izabela Goss)
The single heralding the production, ‘Ladykillers’, was full of girl attitude and feisty feminist power, and it received an ample airplay on BBC 6 Music, as well as being featured on numerous compilations.
2016 sees the return of the strong minded artist with ‘Pillow Fort’ EP, mixed by Oli Horton, who was previously involved on ‘Connections/Departures’, duetting with Ms Lucy on ‘Enduring Freedom’.
Horton was a core member of a great synth hope Trademark, who not only supported Human League and Chicks On Speed, but also remixed various artists, such as The Modern (aka Matinee Club featuring Nathan Cooper aka Kid Kasio), Goldrush, Kish Mauve, Boy Kill Boy and Cas Fox.
Nowadays Horton is an artist and producer under the pseudonym Dreamtrak, being involved in various projects, including Queen of Hearts and further remixes such as ‘No Pressure’ for Little Boots.
‘Pillow Fort’ minimalistically sees only four tracks, with Stay Away From Me’ as the opening gambit. It’s a song written to celebrate the “final unfriending of a toxic ex”, where Gaptooth feels that she “must erase you”. Rough vocals over a synth melody fortified with harsh guitar continue the feminist themes, and can be compared to those of Saffron of Republica. The video accompanying the title has been directed by Bristol based singer/songwriter Laura Kidd aka She Makes War.
‘Good Guys’ sounds punky and rugged and describes dating mishaps, angrily wrapped up into a synthy piece, while ‘Such A Girl’ slows the tempo somewhat at first, describing the harshness of the modern world and the roles imposed on both men and women.
The closing track, ‘I Built A Fort’, with its minimalist sounds, depicts a child-like solution to the issues of the world of today. Every problem can be seemingly sorted, when one builds a fort made out of duvets and sings a grown up version of ‘If You’re Happy And You Know It’.
While the debut album bore heavier guitar and louder sounds, the EP, while still being angry, raw and in-your-face, deploys more electronic tones and is rather tongue-in-cheek.
The readiness of the sound of Gaptooth will probably appeal more to the younger electronica fans, or to those who enjoy the matters of importance being tackled using quirky sarcasm and light-heartedness, Sudden Creation style.
The Girls Are (Dave Jennings)
Hannah Lucy has a day job that takes her on a continuing tour of the world’s conflict zones, working for a peace-promoting charity. It’s lucky for lovers of intelligent alternative pop that she uses that medium to vent anger and have fun, when she adopts her Gaptooth guise. Electronic indie-pop is Gaptooth’s default setting, with club-friendly beats alongside retro electronic bubbles and squeaks reminiscent of the sadly missed Broadcast. There’s also plenty of guitar, both ferocious fuzz toned rock attack and protest-folk strumming.
What unites it all is excellent songwriting. Connections/Departures places Hannah Lucy in that premier league of wise, witty lyricism reserved for supreme wordsmiths like Jarvis Cocker and Jenny Lewis. It’s variously angry, funny and tender, full of observations that make you laugh out loud or wince with recognition.
Gaptooth is overtly political, proudly declaring her feminism. “Ladykillers” sets a succinct analysis of the contemporary female condition to a dance pulse and an Elastica-esque guitar-driven chorus. It doesn’t pull its lyrical punches, alluding to sexual assault statistics: “…When he’s got you pinned to the bed/Becoming a part of the one in three/The right to vote/Will not set you free”.
It takes a special way with words to take the name given to an infamous military operation and use it for a love song. Gaptooth does just that in ‘Enduring Freedom’, whose opening lines certainly grab attention. “I only just fell from the womb all wet and screaming/Now I’m supposed to be a functioning adult” laments Hannah Lucy, before functioning very successfully in a charmingly awkward, tentative, vulnerable duet with Trademark’s Oli Horton.
‘Tigerstrikes’ is upbeat and tough, following another killer opening gambit – “I’m always the DJ and never the bride” – with a kiss-off to a condescending mansplainer. ‘These Machines’ angrily analyses the forces that divide and rule us all, while the gentler ‘Plans and Friends and Records’ is the funniest song about heartbreak I’ve heard in many a long month. The jokes stop dead with the chilly beauty of ‘Same Ghost Every Night’, which seems to confront an unnameable trauma; and then the rousing guitar-fueled polemic of ‘Take It Down’ ends things with defiant dissent.
There are so many quotable lines, but I don’t want to spoil all the many delightful surprises in store on Connections/Departures. It may be wrong of me to want Hannah Lucy to be distracted from her charitable works, but the music world badly needs her.
The Electricity Club (Chi Ming Lai)
2013 has been a fantastic year for electronic pop with a number of the evergreens from the first phase returning to produce some of their best work for many years while new forms have also flourished, particularly from North America. And although several acts from the EU have impressed, the domestic scene on both sides of the channel has been disappointing with some acts taking the term synth revivala little too literally!
However, from East London comes a burst of snarling energy under the name of Gaptooth. The moniker of singer/musician Hannah Lucy, she will shortly be releasing her debut album ‘Connections/Departures’. A fierce blend of indie electro disco and sexual politics, the album opener ‘Ladykillers’ is her calling card with an amalgam of feisty Swedish combo The Sounds and Gossip’s more recent pure pop experiments. BBC 6 Music’s Camilla Pia said Gaptooth “combines electronic music with scuzzy riffs to danceable effect”.
‘Connections/Departures’ has been co-produced by production team A Scholar & A Physician who have worked with Chicks on Speed and Piney Gir from the much missed duo Vic Twenty. Among its highlights is a duet ‘Enduring Freedom’ with Ollie Horton from one-time great white synth hopes Trademark who supported The Human League in their time and produced a cover version of Depeche Mode’s ‘Enjoy The Silence’ for lost girl group Red Blooded Women in 2009. There’s also the endearing chip pop blend of ‘Baggage’ and kitchen sink drama of ‘Plans and Friends and Records’ which comes over like a fantasy collaboration between Dubstar and a less shouty Shampoo!
While her debut is not flawless and at times the prominent guitar can get over bearing, Gaptooth shows great promise and potential. Her development over the next few years will be an interesting journey.
Sounds XP (Michael H)
Gaptooth’s debut album ‘Connections/Departures’ is the product of much travel and experience, reflected in an eclectic approach encompassing pop, rock, and a few sophisticated steppas. In the main, it goes for throbbing electro pop, slick and propulsive. It stands out from the crowd by virtue of a sharp lyrical edge, addressing sexism and laddish nonsense on “ladykillers” or the troubles of growing up with “I’ve only just fell from the womb, all wet and screaming; now I’m supposed to be a functioning adult”. The album drifts troublingly close to sounding like Republica on a couple of tracks; however, the best have a spinning Junior Boys inventiveness mixed with the giddy sugar rush of Pet Shop Boys. A range of moods and pace is explored, from flickering dance tunes to dour balladry; it doesn’t lack ideas or direction. ‘Connections/Departures’ is a promising introduction to an artist who will no doubt have more to say on future albums.
The F Word (Cazz Blase)
Holly interviewed Hannah Lucy, a politics, philosophy and economics graduate who performs as Gaptooth, in late 2012. At the time, Gaptooth was due to release her debut single, ‘Ladykillers’, a searing feminist anthem. One year on and Gaptooth’s debut album Connections/Departures has arrived.
On a first listen, Connections/Departures is something of a mixed bag. There is much of interest here and some moments of sophisticated and effective songwriting, but there are also some songs that don’t quite come off. Like most debuts, it is imperfect but charming and worth persevering with.
The album opens well with the single ‘Ladykillers’, a statement of intent and a modern feminist anthem powered by choppy guitar and pounding electro beats. “It’s a man’s world/It’s a man’s business,” states Gaptooth, before asking “How does it feel? To be one of the few?” With its reference to women who are “cheerleaders to a revolution”, it quickly becomes clear that ‘Ladykillers’, unlike its namesake by Lush, is as much a critique of modern womanhood as it is a critique of misogyny and modern men. Gaptooth illustrates the barriers to equality and the frustrations of inequality beautifully with her frustrated chorus cry of “I’m tired of settling for less”. This rage and frustration is refreshingly raw and honest in an era of music that appears to be dominated by a kind of arch pop that is polished in every sense, including the emotions. It’s a standout moment.
Other highlights include the brash glitch-pop of ‘Tigerstrikes’, which begins with the lament “I’m always the DJ, never the bride” and has a killer chorus: “You mistook me for a pussycat, so watch out for when the tiger strikes.”
The pared down guitar of ‘Plans and Friends and Records’ is also very effective, a wry and observational song reminiscent of Billy Bragg meets Patrik Fitzgerald via Life Without Buildings with a smidge or two of Lily Allen. It’s a strong song, albeit one that reveals the limits of her voice, and it suggests that Hannah Lucy’s songwriting is sophisticated and liable to get stronger. The sardonic re-writing of the marriage vows is particularly effective.
The whirling electro of ‘No Man is an Island’ is full of bounce and attitude. It’s a strongly structured song packed with light and shade variations. It comes across as an elegant and hopeful kiss-off, with a quirky fadeout of a fruit machine. By contrast, ‘Same Ghost Every Night’ is a sombre song in a minor key, with a droney menacing tune against high vulnerable vocals. Gaptooth sounds as though she’s trying to do something different with this and, while it doesn’t entirely come off, it does kind of work and it’s a song that improves on re-listening.
Another jewel is ‘Take It Down’, an acoustic piece in the agit prop indie singer/songwriter tradition. It’s a strong, impassioned song and it makes a good companion piece to Poppy and the Jezebels ‘Sign In, Dream On, Drop Out’ from last year. It’s an anthem for the post-Occupy and Naomi Klein reading world, and we could definitely do with more of those these days.
Third track ‘Baggage’ is a more minimal affair, with the vocals more up front. It concerns a young woman searching for a job through ads in the paper, needing a holiday and thinking of drinks out. The theme of restlessness is reflected by the bouncy, bleepy fairground organ feel of the tune. It’s OK, but it’s not a standout piece.
There are moments that don’t seem to work, such as ‘Enduring Freedom’, in which the male/female vocals are effective, but Gaptooth seems to try to cram too many words into the song; it’s as though she has almost too much to say, with the words stumbling out of her. The result is gauche and slightly clunky, but not uninteresting. ‘These Machines’ is gurgly electro spliced with guitars and infused with punk and a bit of distortion. It’s somewhat shouty and agit prop, about aspirations that are unaffordable. But, unfortunately, it comes off as a bit too didactic, a general lament at the sorry state of the human race.
Finally, ‘Some Kind Of Badly Planned Recovery’ features wistful vocals layered over flanged guitars and minimal beats. It’s a guitar-led meandering song and something of a self-lacerating confessional. However, I can’t help but think that the album would have been stronger had it been left off.
What makes Gaptooth stand out is integrity and politics, and these two things give her a bite that enhances her music. Her songwriting skills will serve her well regarding this and it’s unlikely that this will be the last we’ll hear of her. Which is all to the good.
Sian and Crooked Rib (Sian Norris)
A friend and I were recently bemoaning the lack of political thought, or any kind of thought, in pop music today. It might be because we’ve reached the age where we start looking for the ‘good old days’, or it might be because, well, it’s kind of true. If you look back through musical history, you see plenty of evidence for a guitar, a keyboard and a voice being wielded to say something. Something important. From the Civil Rights songs, the poetic protest of the blues, to big hits criticising Thatcherite politics to satirical comments on the rich-poor divide. And then, of course, we had riot grrl and cool edgy women in pop claiming their feminism and slamming misogyny in popular culture.
Recently it feels that there just hasn’t been that much of that. Sure, there’s an old Etonian singing about how Thatcher fucked the kids. And there’s Lily Allen trying to critique music industry sexism whilst simultaneously using all the tropes of that sexism in her video. My two great hopes for some kind of statement, MIA and Lady Gaga, kind of messed it up with their Assange alliance.
Then, bam. At the end of 2013 something changed. Beyonce put Chimamanda Ngozi Adiche in a furious feminist anthem on her new record. And Gaptooth released her first album, Connections/Departures.
I’ve known Hannah, the woman behind Gaptooth, since the mid 2000s when I moved into her house. We organised Ladyfest Bristol 2007 together and have been friends ever since. And so it is with great pleasure and excitement that I take this opportunity to review her album.
The album opens with the electrifying Ladykillers, a catchy, angry piece of pop that wears its feminist politics on its sleeve. The music crashes in, and Gaptooth’s sweet voice slices through, telling us ‘it’s a man’s world, it’s a man’s business’. From there she explores the side-lining of women in left-wing politics, violence against women, (‘as he’s pinned you to the bed and you’re becoming the 1 in 3, the right to vote did not set you free’), with sly references to ‘being de Beauvoir to your Sartre’. And then the chorus swoops in, her voice soaring over the guitars that she’s ‘tired of settling for less’.
The song is angry. It is angry about ladykillers – in every sense of the word. But it’s also a brilliant pop song with a chorus that you cannot get out your head and a beat you can’t help but dance to. It’s so refreshing to hear some feminist anger in pop music again. It’s so exciting to hear anger and passion and pissed off-ness at the horrors women face in a song you can sing along to and dance to. We need music and popular culture to give us pleasure, but we also want it to talk about what is happening, to protest and to criticise.
It’s no easy feat to write a song that makes you want to think and dance, but Gaptooth pulls it off with panache.
Ladykillers sets the tone for the rest of the album, a mix of synth pop, dancing beats, big guitars, sweet vocals and the personal is political lyrics. There is the touching and painful duet with Oli Trademark, Enduring Freedom. It’s a soaring dance record with a euphoric beat that belies the personal heart of the lyrics. Then you have the witty two fingers to a break-up, Plans and Friends and Records, where Gaptooth celebrates a creative future and waves goodbye to the past with what is perhaps my favourite lyric in the world ever, ‘and when I said I had no protection, that wasn’t what I meant.’ The song goes on to re-write the marriage vows in an unabashed dig at patriarchy.
Baggage is another stand out track, a little more understated than Ladykillers and Enduring Freedom, with quirky synths and an introspective exploration of being young and feeling alone with the line ‘when the glasses are all empty and the ashtrays are all full, we still are stuck with ourselves’. The song ends with staccato keys that jerk and surprise.
These Machines takes a slightly different tone, with a driving bass and rockier way in, with angrier shouty lyrics that takes on capitalism and corporations, and the distractions offered to us by politicians: ‘while you were worried about immigration…we send them our carpet bombs for free’.
Then there’s the heart-breaking ‘Same ghost every night’. The synths take on a darker note, they’re stripped back. It’s a beautiful if almost unbearably painful song about loss that can’t be forgotten once heard. As the song moves forward, the haunting soundscape builds up, becoming more and more intense, with the promise that ‘one day this will be alright’, before bringing you back down again.
It’s followed by Badly Planned Recovery which has got hit written all over it as Gaptooth promises that she’s ‘not the wreck you’ve seen today’. This track should definitely be released as a single. The last track on the album, Take it Down, is a very pared back vocal and guitar number, with Gaptooth singing over simple guitar chords about liberte, egalite and fraternite, and socialist politics (‘you won’t find reality in reality TV’). The keyboard comes in but the song remains delightfully simple, letting Gaptooth’s voice take priority as she tells her story.
Each song is unique and individual, but they are all unmistakeably Gaptooth. They are political, personal, feminist, human, angry, witty and catchy. Connections/Departures is a collection of fantastic pop songs that make you want to dance and dance, before lifting up your placard and demanding change. Could this be a new dawn of politically minded pop? I hope so!
Life After BHS (Donald Strachan)
Just over a year ago I called in to The Dublin Castle in Camden to see Scottish band The Stagger Rats. With an interview in their ‘tour bus (transit van)’ under my belt I then went inside to be very impressed by the night’s opening act – an extremely talented young lady performing as Gaptooth. Sadly I had missed the start of her set, but ceratinly enjoyed the rest; the song that really stayed with me that night was ‘Ladykillers’ which I selected as my ‘track of the month’ for January 2013. It took me quite a while to realise just how lucky I had been to have been in Gaptooth’s presence that evening, and I certainly have no regrets about choosing to go with ‘Ladykillers’ as ‘track of the month’; and later in the year I was absolutely blown away when I heard ‘Take It Down’ which I came across as a contribution to the ‘Riot Grrrl 3 Compilation’ which had been released in support of the jailed members of Pussy Riot.
The selection of songs on Connections/Departures presents an wonderfully engaging range, that includes some discordant and distorted electronic sounds, along with others featuring more gentle and melodic accompaniment. One thing that stands out throughout is the strength of the lyrics; they are intelligent and thoughtful and clearly convey Gaptooth’s passion. I particularly like the variant marriage vows in ‘Plans & Friends & Records’. With so many excellent lines to choose from I could have gone on and on, but here is a selection to help give a flavour of what to expect.
“I’m tired of hearing I’m too young and you know best”
“another nature versus nurture debate”
“I only just fell from the womb all wet and screaming, now I’m supposed to be a functioning adult”
“when the glasses are all empty and the ashtrays are all full we are still stuck with ourselves”
“please don’t explain to me my motivations – you’re a habit that I’m kicking”
“we came, saw, conquered, called it liberation; we send them our carpet bombs for free”
“and when I said I had no protection that wasn’t what I meant”
“to love and to hurt for the rest of our lives”
“goodbye, good luck and I’ll see you you in the next life – it’s been fun and I’m sorry and you take care – I know the world’s on it’s 99th second chance now”
“the girl with the prosthetic heart”
“you won’t find reality on reality TV”
Throughout, there is a bit of an eighties electronica vibe, but also so much more that helps to lend a very current validity. If she can continue with this creativity and produce many more albums, might we be about to witness a 21st Century female equivalent to the genius of Billy Bragg? She certainly seems to have his gift for memorable phrasing – just ‘don’t mistake her for a pussy cat!’
Enduring Freedom – single
Step aside The Placebo Single, there’s a new ‘bloody hell’ opening line of the year.
Collapse Board (Everett True)
Song of the Day 660:
It’s all about queue-jumping, this series.
I really do have around 10 of these lined up. Let’s count. The Cardboards, Lizzo feat. Sophia Eris. Laura Mvula. Frankie Cosmos. Twincest. Ragana. Alpine. Jasmine Minks. Alba Lua. Edible Arrangements. Fly Ashtray. Eleven. That’s 11. You could get the drop on me. Go listen to them. Go listen to them and send me back a report, and I’ll print it. That’s a cast-iron promise, or as close to one as I get. But this series is all about queue-jumping. I hear something, I like something, I write about something. It can be a mutated Euro-beat feminist anthem full of big blowsy choruses and tricky couplets that recalls the heady days of Republica. It can be joyous infectious pop music from East London. It could start, “I only just fell from the womb/All wet and screaming/Now I’m supposed to be a functioning adult”. It could recall the intersection of dance and homespun recordings carved out by the folk who inspired St. Etienne during the 80s. (Uh, The Pet Shop Boys then.) It could be angry, questioning. It could sound a little like The Boy Least Likely To. It could be all of these things and more.
It could be Gaptooth.
Ladykillers – single
Camilla Pia (BBC 6 Music)
Oooh very Bis and Le Tigre-esque, interesting references on the biog too and well written political lyrics. The track is interestingly constructed and catchy and I like that Gaptooth is called Gaptooth, amazing, and that she combines electronic music with scuzzy riffs to danceable effect.
Ruth Barnes (Other Woman Radio)
A slice of classic Brit pop which works itself into a mighty fine electro-clash frenzy.
Annette Barlow (The Girls Are)
Completely unconvinced by the first few seconds before killer vocals in the chorus and tight lyrics leapt up and sucker punched me in the face. Electro-pop indulgence with great name.
God is in the TV (Bill Cummings)
London-based Gaptooth‘s first self released single is a rather brill 90s-esque post-feminist electro pop tune brimful of personality and thought. ‘It’s a man’s world, it’s a man’s business’ sighs Gaptooth aka Basingstoke born Hannah, surfing a choppy suite of synths and almost trip hop beats in the verses, her clever pointed couplets sneer pleasingly about the duality of ‘Ladykillers’ men that objectify women: womanisers, or worst still abusers (for example: “If you’re not above cheating, if you’re not above beating…”‘). Rippling with female empowerment, ruminations on man-made devastation and political insight ‘Ladykillers’ carries the sharp lyrical suss of Le Tigre, and when the biting buzz guitar hook and chorus kicks in it reminds me of Republica‘s ‘Ready To Go,’ yeah in a good way. While the synth laden with guitars turned up to ’11′ outro speeds out into the distance kicking up dirt in the eyes of former lovers. Co-producing her own tracks with A Scholar and a Physician (Foals, Piney Gir, Anat Ben David, Chicks on Speed) Gaptooth is a fiercely good project elevating the (personal) politics of the everyday into thought provoking hook laden pop songs, it’s worthy of your immediate attention. Press play below!
10 points, 10 stars. The track combines the best of electronic music with great rock guitar riffs.
Gaptooth is the new Garbage!
Beautiful, seductive electropop.
A similar concept to The Killers (although the sound is very different) this marries dance and indie tropes. The highlight is the vocal delivery in the chorus, but a great track all around.
Nightshift, November 2006
Another unassuming gem, this time the work of former Truck Records studio engineer Hannah, backed up by Truck Festival regulars A Scholar & A Physician. Coy, girly robo-pop, full of ace bubbling synths and kitchen sink melodrama. Like a girl-fronted Pet Shop Boys crossed with a Cockney Dubstar, Gaptooth are simultaneously deadpan and spiky, recounting the humdrum with a cutesy yobbishness that could be long-lost girl-pop duo Shampoo being taken in hand by Ladytron. ‘Plans and Friends and Records’ is bolstered by some serious digital squelches and probably best of the lot here though the luxuriant synth swirl of ‘Same Ghost Every Night’ pushes it hard.
Pussy Whipped – The Wee Red Bar, Edinburgh, 06/09/2013 (Preview)
Gaptooth blends angry and intelligent feminist lyrics with guitar pop, electro beats and an incredible one-woman show! You will be in love, we’re telling ya.
Life After BHS – The Dublin Castle, Camden, 08/12/2012 – (w/ Joy Revision, The Stagger Rats and Belter)
…Then I was inside the venue and appreciating the end of a set by Gaptooth, a young lady doing her bit with assorted electronics to provide her support ‘band’. I enjoyed what I heard and noted some echoes of Gary Numan in the music that accompanied her clear and thoughtful lyrics. This brief experience was yet another wonderfully unexpected element to add to the weekend’s mix. Her single ‘Ladykillers’ was released on the Monday following the gig and I will certainly look out for more from her in the future.
The F Word – Ladyfest Bristol 2007 Launch Party, 27/08/2007 – (w/ Anat Ben David)
…We then watched a performance from Gaptooth, whose style moved between the energy and wit of Le Tigre and a more downtempo vibe, with political lyrics and delivery that reminded me a little of Billy Bragg. There were also clever references to prompt a weary smile from any existentialist-feminist who has ever agonised over the pour-soi/en-soi conundrum (“I could be De Beauvoir to your Sartre”) and plenty of progressive questioning of the cult of the breadwinner that continues to oppress both sexes. Ladykillers undoubtedly stood out for me as the potential chart hit. However, bearing in mind today’s limited cultural climate, I guess it would need to be remixed by Soulwax and featured on a TV show about teenagers who like to shag, take drugs and do transgressive things like frolic about at parties in bearsuits, while covered in foam before mainstream success could finally be achieved. Oh well. Never mind all that mainstream bollocks anyway because, to top it all off, Gaptooth got a pair of men’s pants thrown at her at the end of her performance. I’m not sure how spontaneous this gesture was but I know I definitely approved. Maybe a few subversive twists to the banal symbols of the mainstream would be a good thing after all.
RockFeedback – Ladyfest Bristol 2007 Launch Party, 27/08/2007 – (w/ Anat Ben David)
First up was Bristol based and Ladyfest organiser Gaptooth, playing her brand of politically motivated but upbeat electro pop songs, with the help of her sampler, guitar and microphone. Gaptooth has bucket loads of presence up on stage, chatting and interacting with the audience, and her tunes are just so god damn catchy, as the perfect pop song should be. It goes deeper though, with lyrics such as ‘the right to vote, did not set you free’ (‘Ladykillers’) and ‘send them our carpet bombs for free’ (‘These Machines’), Gaptooth isn’t afraid to use the stage as a platform to raise debate and provoke a reaction. And as part of a line up for a festival whose aim was to “provoke thought and discussion on gender issues”, her inclusion makes perfect sense.
Bristol Bands.com – Louisiana, Bristol, 05/09/2006 – (w/ CountrySide & Venus Bogardus)
We actually went along as paying punters for Tuesday night’s gig, for a night out, to support the awesome Venus Bogardus and check out Countryside. We didn’t intend to write a review at all.
However, what we saw last night we just had to write down. It was one of those magical evenings you get when all the acts gel together really well, and you had the distinct impression you were witnessing something special.
We’d never come across Gaptooth, and when a thin girl took the stage armed with an electric guitar, keyboard, and with the rest of the band on an MP3 player, our hearts sank.
Boy were we in for a surprise. Punchy songs and wry, intelligent and sometimes humorous lyrics, avoiding all the usual clichés and hackneyed rhymes.
Gaptooth had the whole audience with her, and took advantage of the intimate atmosphere to really interact.
Apart from a couple of times when there was dead air while we were all waiting for the backing track to start, Gaptooth’s invisible band supported her really well.
Standout tracks for us were the haunting ‘Same Ghost Every Night’ (Bjork would be proud), ‘No Man Is An Island’ (apart from the Isle of Man, as Gaptooth pointed out), Plans and Friends and Records, and her finale ‘Ladykillers’.
Gaptooth’s a natural on stage and coped really well with the occasional glitch. She’s part of the ‘Chicks with Decks’ DJs, so probably used to everything technical that can go wrong. I actually bought a demo (believe that!) and have been playing it pretty much all day, trying to work out which one to profile on our MySpace player.