Sinister instrumentation tackling violence against woman in a combative manner
‘Out Of Sight Out OF Mind’ is a common phrase for putting something in the past behind. However, fem-punk artist SEY.MOUR is using the phrase to highlight an important.
Alongside her support band, The Misses, she is using it to showcase that violence against women is easier to ignore than it is to address.
This intent is portrayed through anything but subtleness. The song opens with sinister guitar feedback, disturbed by a wall of dark, jagged guitars that give a real sense of anger and urgency.
It’s the kind of sound that does the talking for itself, and feels like it has something to get off its chest. In the bridge, you can feel it shift into something more angelic. It catches you off guard, and for a brief moment pulls back the curtain to expose something more vulnerable.
The calm doesn’t last long, as the track builds for a roaring finale that feels ready to confront anyone and anything.
Musically, it’s difficult to pinpoint SEY.MOUR and The Misses. They sit somewhere in the alt-rock, grunge and punk rock space, but somehow live outside that with some melodically indie elements too. The combative nature of their instrumentation combines to create the punk urgency with an alternative punk sound.
SEY.MOUR wrote ‘Out Of Site Out Of Mind’ as an expression of frustration and anger, but also as a form of activism and pedagogical defiance, expressing uncomfortable truths about violence against women that people often avoid discussing.
She speaks and shouts feminist and political truths with unapologetic force, channeling the raw experience of being a young woman navigating a world that often feels rigged, bringing the sound to life with explosive energy and unfiltered emotion.
Following an explosive set at a fundraiser for women in Afghanistan at The Shacklewell Arms, and a lively, interactive set at The Good Mixer, SEY.MOUR. and The Misses are set to take the stage once again on 24th October at The Victoria, Dalston, to celebrate their new release.
Written by Brad Halcrow for The Songbird HQ