It’s been over a decade since LA duo Uh Huh Her released any new material, with the bubbly synthpop sounds of their initial run of records feeling pretty distinctly tied to the unique vibrancy (and alleged sleaziness) of the late-’00s/early-’10s indie scene. Yet this Friday, they’ll be digging up some unheard material recorded around the release of 2011’s Nocturnes LP: Nocturnes: Redux features the unreleased early mixes of the album’s 11 songs, as well as a pair of exciting B-sides that includes their recently shared scuzzy cover of Sonic Youth’s feminist anthem “Kool Thing.”
Ahead of the album’s re-release, we asked Camila Grey and Leisha Hailey to reflect on this period of the band with a list of some of their biggest influences from the Nocturnes era. The results proved to be an interesting balance of classics and then-new hits: the guitar production of Cheap Trick, the thunderous percussion of Led Zeppelin, the layered vocals of The Cure, the blunt songwriting of Liz Phair, and the (vastly different) minimalist grooves of Can and Donna Summer all congeal with more modern sounds, such as the emotive synths of The Knife and the unpolished textures of Kings of Leon.
Before the release of Redux later this week, take a look at Grey and Hailey’s extensive list of influences below. The record is available to pre-order here via Kill Rock Stars.
CAMILA GREY
Pink Floyd, “Eclipse”
The breathtaking coda to The Dark Side of the Moon, “Eclipse” is less a song than an emotional reckoning. I love the immense cathedral-like vocal harmonies that build toward the climax at the end. The instrumentation feels cinematic and almost orchestral, yet every note serves the song’s emotional architecture.
The Fall, “Bill Is Dead”
I love how individual the sound of The Fall is. I absolutely love this song for the wiry guitars, repetitive bass figures, and the very rough-edged rhythm section that feels super hypnotic. The vocals are almost incantations—it’s post-punk era at its finest. This track in particular shows you how their repetition, abrasion, and attitude can become almost virtuous.
Led Zeppelin, “Kashmir”
“Kashmir” is so monumental. It was built around John Bonham’s thunderous yet always restrained drumming style, which led us to eventually rent Bonham’s actual kit from “When the Levee Breaks” for recording Nocturnes. Josh Kane just kills it with this kit, in the studio. You can definitely hear that on songs like “Criminal” and “Disdain.” I love the Middle Eastern colors it paints tonally, as well, in this song.
Can, “Vitamin C”
Can made krautrock into something simultaneously mechanical and really human. Damo Suzuki’s vocals always seem to float through the mix as another instrument rather than a traditional lead. It’s very “German experimental underground of the early 1970s.” This particular track really helped pioneer minimalist grooves, which was our goal for songs like “Wake to Sleep,” etc.
Depeche Mode, “Policy of Truth”
Depeche Mode make synths sound like emo instruments to me. “Policy of Truth” combines electronic bass arpeggios and crisp programmed drums. It feels super seductive to me, almost melancholic. The picture it paints when everything comes together has always served as a backdrop to the kind of production I love. It’s immaculate.
The Cure, “Just Like Heaven”
This is like effortless joy in production, to me—every instrument contributes motion without overcrowding the arrangement. This is the peak of Brit rock/alternative pop, and I love the layered vocals. We definitely love layering our vocals together in Uh Huh Her because Leisha and my vocals are so different timbre-wise.
Radiohead, “All I Need”
“All I Need” unfolds with such patience. A really simple bass pulse anchors the delicate piano and swelling strings. Nigel Godrich’s production gives every instrument extraordinary depth and space. It feels multidimensional to me. It really exemplifies Radiohead’s gift for blending art rock, electronic music, and pop together.
Sinéad O’Connor, “Nothing Compares 2 U”
This is pure elegant simplicity. Sinead’s vocal performance is the emotional center of gravity. Written by Prince but transformed by O’Connor’s interpretation, it shows you how simplicity can be just stunning.
Cocteau Twins, “Cherry-Coloured Funk”
Elizabeth Fraser’s mesmerizing voice functions almost like another instrument on its own. This is the epitome of dream pop, and they’re a huge inspiration in terms of their approach to their shimmery production. Love!
Cheap Trick, “Heaven Tonight”
Dark, theatrical, and unexpectedly experimental, “Heaven Tonight” reveals a side of Cheap Trick beyond power pop. I think that this song remains one of their most underrated recordings. It gave me inspiration for “Human Nature” just from the guitar production alone.
The Smiths, “Stop Me If You Think You’ve Heard This One Before”
I love the dazzling guitars on this one. Johnny Marr really nails it with the arpeggios and the cool rhythmic flourishes, and then of course Moz’s lyrical and melodic sophistication make this song one of my favorites. It’s a defining recording of late-1980s British indie music. It almost sounds orchestral to me, despite being heavily guitar-driven. I love the mixture of strings and guitar with Uh Huh Her, so this is a touchstone for me.
LEISHA HAILEY
Donna Summer, “Love to Love You Baby”
Wendy Melvoin and I listened to this song on repeat. It was a huge inspiration for “Same High.” It’s hypnotic and sensual, and even though the production is so minimal, the groove completely takes over.
Liz Phair, “Explain It to Me”
This song had a huge impact on me. Liz Phair has always had this ability to make vulnerability feel incredibly direct. It’s like you’re listening to someone’s internal monologue. Nothing ever feels overly polished, and that inspired me not to over complicate or overthink “Debris.”
Siouxsie and the Banshees, “Happy House”
This was a big inspiration. I love the tension between the driving energy of the music and the darkness underneath it. Siouxsie’s sound feels playful and unsettling at the same time, and that contrast has always influenced us.
The Knife, “Heartbeats”
This song completely changed the way I thought about electronic music. The synths feel emotional rather than mechanical, and that was something we kept coming back to on this album: finding a soulful sound within the synths.
Kings of Leon, “Stormy Weather”
There’s something beautifully unpolished about this song. I love the loose, trance-like backbeat and how human the whole rhythm section feels. Josh always brought that same quality to our songs.
Patti Smith, “Dancing Barefoot”
Patti Smith turns longing into something almost spiritual in this song. It’s hypnotic, and her voice walks this beautiful line between fragility and absolute conviction. That balance was something we used as a touchstone throughout the album.
