Issue Fifty-Two
Also inside: The Voidz Nilüfer Yanya Amyl and The Sniffers Man/Woman/Chainsaw untitled (halo) Divorce Honeyglaze bed Blood Wizard Hank
GEORDIE GREEP
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If this summer’s festival season was the celebration of the
With new records on their way, we’re thrilled to welcome
year that came before, Autumn’s new releases and hectic
Amyl and The Sniffers, Honeyglaze, Nilüfer Yanya, Man/
tour schedule leaves us with no choice but to focus on
Woman/Chainsaw and Divorce back to our pages. Here
the here and now. One artist with no intention of looking
for the first time, we touch base with LA’s untitled (halo)
back is Geordie Greep, the former black midi member is
ahead of their UK visit this year and London’s Hank who
delivering ‘The New Sound’ via his new solo project, an
have been sharing stages with notable names and have
album which moves away from feelings of repetition and
recently released their debut EP ‘Twist Grip’.
works within a stricter set of rules. We speak for the cover feature.
Completing this issue alongside an interview with Nottingham’s excellent Blood Wizard, we speak to
Issue Fifty-Two is full to the brim with conversations
Tyler Bainbridge, the man behind NYC’s most respected
that span household names, like Julian Casablancas, as
recommendations newsletter, Perfectly Imperfect. Having
we discuss the new record from The Voidz, through to
celebrated our tenth birthday at The George Tavern earlier
Japanese newcomers, bed who are breaking the norm and
this year, we speak to iconic landlady, Pauline Forster
sticking two fingers up to the standard practices expected
about the venue’s history and future. We talk village life
from artists in their home country.
and Oasis reunions with Fashion designer, Sam Nowell and self-taught Irish painter, Peter Doyle gives us an insight into his practice.
4 Man/Woman/Chainsaw Just Play It Better 9 The Voidz I’m Just A Normal Guy Man! 15 Sam Nowell Village Life Ideal 19 Geordie Greep The New Sound 25 Perfectly Imperfect Curators 30 Amyl and The Sniffers Let it out, buddy! 36 Blood Wizard BIG FISH 41 The George Tavern In Conversation with Pauline Forster
45 Nilüfer Yanya Distilled 50 bed Rising Beyond Japan 53 Hank A Pint of Guinness and a half 57 Peter Doyle Togetherness 61 Divorce There is no Perfect Place 68 untitled (halo) Is The Verve Britpop? 72 Honeyglaze Real Deal
After playing the live circuit nationwide, in various
With our current line-up it’s only been two years. I
venues, drinking dens and dancefloors Man/Woman/
remember hearing of other bands doing 100 shows in a
Chainsaw are releasing their debut EP, ‘Eazy Peazy’ on
year. The joy of this whole thing is playing the shows.
Fat Possum. Musically flirting with the histories and sounds of big band music, pop and post-punk entwined
How do you think playing live has influenced your
with their orchestral-soaked cacophonies. Man/Woman/
music?
Chainsaw learnt their sound by playing it live, reacting to audiences and in that organic relationship to understand
V: We didn’t even really have a set in the first few shows
what works. Paired with the joy and happiness they
we played. A song would be nearly done and playing it
receive from playing live; this collaboration of live
live would tell us what we need to do to it, or it would just
learning and loving playing has allowed for the creation
be a shit-show. Lately, we don’t really do that, probably
of a unique and wholly enjoyable debut project. A subtle
because there is more of us and we are better.
confidence comes across, desiring to move their music in a different direction from the commonly placed
B: There is a middle line to be found though, where
comparisons. Trusting in their instincts and abilities,
sometimes you have to get it out there. A song that sounds
with a lyrical versatility, in part due to the number of
like your opus in your room can just be terrible live.
songwriters, which traverses a multitude of subjects; both personal and universal. Friendship is an important aspect
You can have the fundamentals of a song that’s
of Man/Woman/Chainsaw, and many in the future will
recorded and then be more adventurous live.
want to be a part of their gang, joining in the fun of their school trips.
V: That’s fun. But I don’t like it when it surprises me, I’m like, what the fuck are you doing, we did not agree on this.
How did ‘Eazy Peazy’ come into existence? B: Sorry. Billy: We had songs we had accumulated over a big period of us figuring out how do to the thing. Fat Possum has
V: I’m not dissing you. A level of improvisation which is
been a really great label and it has felt right.
nice.
Vera: I think the music itself though wasn’t to do with
B: Back in the day there was a lot more of not knowing
waiting for anything, they were just songs that we played
what is going on but now I think it’s tighter.
live. It was never supposed to be a collection, a project. V: We’ve obviously heard our own EP having recorded it. A key point when I hear about you is how many live
I think you tend to play it more like the recording because
shows you’ve played.
now there’s an ‘official’ version of it.
V: I wouldn’t even say we’ve played a crazy amount of
Why the trio of singers, because it is rare to have that
live shows.
many singers; what effect does that have on the lyric writing and music?
B: 120? B: Often the person who wrote the song has the most to V: You’re the one with the list.
say initially about who’s singing.
Words by Teddy Maloney, illustration by Zsófia Győrfi
4
V: I hadn’t really thought about that. Maybe we should
B: Not really, it was wanting to be in a band and have
branch out a little bit.
some fun and still is.
B: I’ll be happy to sing some of yours if you want to sing
V: It’s like a job that you don’t get paid for now. I will
some of mine.
be like, ‘I can’t believe I have to go sit in a car for eight hours.’ Then, I think thank fuck, I’m so lucky to get to
V: I don’t like your ones… I’m joking.
play to people in pubs.
B: Nice.
B: At first, the goal was to play the Windmill. Now the band is a unit, we do have bigger goals even if the process
V: I find it so strange when you have one person singing,
is still the same.
then you switch to the next person and next person. I feel like I’m at an open mic, but you’ve got a backing band. I
Listening to your music it is chaotic, experimental,
like it to feel collective.
imaginative but feels modest. Did that come naturally or was it an active decision?
B: It’s an instrument, an arrangement. We will have three people sing because we want to get as much sound as we
B: Just serve the song. There is no point in having all this
can out of the people on the stage.
flair and crazy sound if the song isn’t good at the core. We figured this out as we wrote the EP, but if the lyrics aren’t
How do you translate the intensity and passion of your
saying anything with no through line then it doesn’t hold
live shows into your recorded music?
onto you in the same way.
B: We definitely wanted to track live. That was a definite
V: I still think we have some learning to do on the less is
intention of the project because it just saves time and the
more front. Sometimes it doesn’t all need to be going, but
sound keeps.
sometimes it does and it’s very good.
V: We are so embarrassingly shit at tracking compared
B: Another gem that Daniel had in the studio, ‘If
to everyone else. Twenty million takes to do everything.
everything is loud, nothing is loud.’ Which hadn’t really
Daniel Fox who produced it was very good, his advice
occurred to me.
was … V: I knew about that one. Both: Just play it better. B: Yeah, Vera knew about that one. V: Oddly is was quite like, ‘Oh yeah you’re right’. He also ‘Grow A Tongue in Time’ is more delicate and refined
told us to ‘let the spirit of rock move us.’
than some of your other songs. I was curious, is that a Both: Which we did.
signal at a direction you may head towards?
V: I say this all the time, but; we are just really good
V: Tongue is actually quite old. I remember writing it on
friends. So, it didn’t feel like a job. It just felt fun, which
the train to school and finishing it that evening at home. I
translates live and hopefully onto the recordings.
sent it to Billy, he learnt it, then we played it together the next day. It was one of those ones that just came out.
B: On tour it feels like a school trip. Has your understanding of Man/Woman/Chainsaw changed through the many iterations, the reason why you do it? 5
Man/Woman/Chainsaw
B: Sometimes we will be really tempted to go big at the
V: The C10 route. I like that route.
end of a song, or go really big to quiet, but with that one was such a good song when stripped back. It’s intense but
Playing alongside many exciting and established
builds and holds tension.
groups; what residual benefit occurs from sharing the same stage?
V: I also think when we first started playing that song, it was the first time I started singing. I started off with a lot
B: I think they’re just nice. Vera was saying this the
of shouting and talking like everyone who does post-punk.
other day, it’s funny because you presume that big artists or people that you’re “competing” with are going to be
Do you see yourselves as part of a musical tradition
unfriendly but actually they’re all really lovely.
born out of London – with the obvious names and comparisons – in the last few years?
V: I, for some reason, assume that everyone’s going to be a prick, which is a really bad assumption to have. But at
B: We grew up on it, obviously we were teenagers when
Green Man, they had us do the podcast with Lime Garden.
that stuff was happening. It was the thing that we aspired
They were also playing Manchester Psych Fest and we
to but that moment is kind of gone. We are looking at a
went to see them, and their music was really good. And
lot of music with big bands over the last 50 years, not just
that’s when I was like people are so nice.
the last 5 years. The stuff that came out in the last 5 years wasn’t just looking to its own scene.
100 Club, London Headliner – Why Halloween?
V: I liked post-punk, but I never got really into it. I like
B: It’s a great venue, it’s historic. And, it’s fun.
going to the venues that would host those kinds of gigs. At my core I really like pop music, I listen to Katy Perry.
V: We can put cobwebs in places.
Sorry there’s a loud party bus going past my flat
B: There’s probably already cobwebs in the 100 club.
window. What can we expect going forwards? V: That’s fun. B: More shows, bigger shows, better music. I mean that’s B: We should do a show on a party bus.
always the plan. Basically, it’s all we can hope for. Keep having fun. Vera, penny for your thoughts?
V: That would be gas, I’d fucking love that. V: I don’t know what to add. I just like it in the pubs. B: What route would we do?
@petit.crickets
6
The Voidz
Although Julian Casablancas needs no introduction, perhaps his band The Voidz might. Returning with his third album, titled ‘Like All Before You’, Julian blends an acoustic alchemy of Synth Pop, Metal, Dub and Post-Punk to deliver a cyber-futuristic genre-bender. Joining me from a Los Angeles rooftop equipped with witty anecdotes and a surprisingly cheeky disposition (I know what you’re thinking, and no I didn’t get the wrong guy!), my conversation with Julian was everything I’d ever dreamed of as a life-long fan.
9
Words by Leo Lawton, photo by Cheryl Georgette
How are you, Julian?
I was talking to a ten-year-old boy who I used to babysit the other day and I asked him what he would ask a rockstar if he only had one question. He replied,
Hangin’ in there. How are you?
what shoes does he wear when he goes on stage? Not bad. That’s a nice view for an interview. Did you tell him that it was a stupid question? Just Hmm, there’s a play on words hiding in there somewhere.
kidding, it’s a brilliant question! Hmm, they must be made of Italian leather. No, I don’t know. Shoes? I don’t know, I
What time is it over there?
have several pairs.
It is… [long pause] ah, nobody knows. I’m gonna say
Pairz with a ‘z’ right?
7:26, but that’s a guess. A wild guess. Woah, low blow man! Low fuckin’ blow! Sorry for the sirens by the way, at least they’re saving lives. I’m starting to think they’re coming for me. [Julian positions his hands to mimic a megaphone] “YOU ARE SURROUNDED! WE KNOW YOU’RE UP THERE!”
Nah, it’s actually 6:15. PM or AM? Can we talk about the record a bit?
Are those the first and only interview questions? Are we done? 6:15pm man. Well, it was great chatting, and
Yuh.
I hope you got what you needed. Oh, please send me the transcript. [Employs generic news reporter voice for comic effect] “Some say it was AM, some say it was PM. There were rumours that it was past 7pm but eventually it was confirmed by a source on the ground that it was indeed 6:15pm.”
Speaking about The Voidz in the past, you’ve said that the band has given you freedom to explore different styles of music more fluidly than your past endeavours. From Synth Pop, Dub, Metal and Post-Punk, this new album displays a very broad sonic palette. Tell me a little more about the specific influences? Umm, well I think I’m influenced by everything I’ve ever really listened to. In a more pronounced way, things that I have consciously told my brain to accept as things that I like and value. I think that that is probably just a general, generic truth for most art or creative stuff. So[oooo], perhaps not the individual thing that you were seeking, but accurate, nonetheless. I’m just a normal guy man!
11
The Voidz
I picked up a couple of eighties references across the album. On ‘Flexorcist’, the drum pattern sounds a lot like Prince’s ‘Kiss’, whilst the outro sounds like The Human League’s ‘Together in Electric Dreams’. Were either of those songs on your mind? Prince is always nearby. The other one not so much, although I think we thought of it. Yeah, it was one of several influences I guess on that specific song. I love Human League, so I suppose that was an accident. Or at least I wasn’t in on that. Maybe Jake or Jeff or whoever was playing that outro was. The main drum break on ‘Prophecy of The Dragon’ sounds just like Madonna’s ‘Burning Up’. Are you a fan? There are several drum breaks on that track. Originally it was a drum machine that Beardo programmed, so that was the start of it. Then we added the salt and pepper of eighties Hip-Hop. Almost like an alternate Metallica, Run DMC collab or something. Hip-Hop drums and metal guitars. Not said, or consciously, but I guess in hindsight I’d describe it as such. It’s a brilliant example of the way you mesh, or collage different elements together on this album. That’d be a great name for a musical genre. “What kind of music do you play? Umm, it’s like Mesh”. I wonder whether there’s a name for the genre inspired by the way you programme your vocals on this record and have done since your 2013 collaboration with Daft Punk on ‘Instant Crush’. It’s almost like you’re conducting an ironic pastiche of auto-tune that you don’t hear in pop music. It was slightly born out of the Lo-Fi boomboxes of Parisian rickshaws playing Algerian auto-tuned Pop. That’s where it first caught my ear. But I’ve been overanalysing vocal melody harmony for a long ass time, and I think I’ve learned that the power of melody lies in sharp or flat note singing, whether you’re Lou Reed or a Broadway Singer. 12
Most melodies sound good without auto-tune, but with
Songs like ‘All The Same’ and ‘When Will The Time
auto-tune they sort of come to life. It allows you also
Of These Bastards End’ are clearly interested in these
to come up with different ideas which you wouldn’t
powerful, shady, authoritarian figures that still manage
otherwise. I like it as a tool. In ‘Flexorcist’, auto-tune
to rule our societies. With a general election coming
really served the melody so that it pops in a crispy way,
up in the states, how do you feel about Trump and how
for example. Others I can tell that it wouldn’t be the vibe.
close he is to being re-elected?
On the flip side of it, sometimes a producer will tune a As much as Kamala seems like a more pleasant person
note, “correct” it, and it’ll lose the magic it had before.
socially, I don’t see a difference between the two Why do you think it makes sense in The Voidz to play
candidates. The war between the billionaire gang and
with vocal effects and vocal delivery so fluidly?
humankind is the same one that’s been happening for ten thousand years. Both parties here in the US are the
The Voidz is exploratory. If I’m singing something I can
billionaire gang. Are we going to come together and ever
sing it in different registers, high, or low. If you’re singing
figure out how to evolve from a tribal dynamic to a large
low, what kind of inflection are you using? Some people
societal dynamic, while being able to neutralise deception,
sing with different accents. When you sing high, are you
which so far, we have not figured out how to do. Serial
going to scream? There are so many different styles, and
killers roam in the shadows easily, and it’s been that way
within that there’s subtle tuning. On top of that, there’s the
forever.
tone, there’s volume, which will control how the energy of the song is going to be transferred. The most important
We’re about to run out of time, but I wanted to ask a
thing is that you don’t over produce. I think when they
couple quick questions before you go. Favourite album
recorded ‘Billie Jean’ they did one hundred vocal takes
of this year so far?
and ended up using the first one. It’s always the first or the The Beak> record is really good. Quite an enjoyable listen
last that’s the best. The end.
all the way through. Is that theory applicable to how you record in the studio generally? Do you tend to get your vocals down
Favourite current British artist?
on the first take or do you agonise over them a bit more?
I just heard black midi broke up right, and that Fat White Family might be following suit. Do the two semi-fallen bands count as one?
That’s the thing. It just depends. Some things happen really fast, and some things you labour over.
Lastly, do you feel more freedom to make more daring music with The Voidz than you did with the Strokes?
Was it a deliberate move to obscure your vocals and lyrical narrative using auto-tune effects?
Not really, but I couldn’t really do it with The Strokes. I No, it was more about decorating. You know, the character
could probably strong-arm it, but I just don’t think there’s
in your play is delivering a speech. Is he on a podium, is
the same environment with The Strokes. In The Voidz,
he wearing a black robe? Is he dressed like a clown? Does
everyone is a very respectful craftsman - it all evolves
he speak acoustically or through a megaphone? These are
organically. I’m going with the flow of both bands, and
all just creative options which are borderline limitless.
don’t want to fight against the stream, so to speak.
That’s what art is. You’re putting everything through your filter to deliver your message in the most effective way possible. You want to make it inspiring to your fellow men. Or whatever your goal is. Get rich?
13
The Voidz
We caught up with the exciting designer to talk nostalgia, New Order and The North. How would you describe yourself and your practice? My work is a way for me to communicate themes that were present in my childhood, growing up in an anonymous northern village. It’s a love letter to a village life ideal, hopefully sitting somewhere between traditional folk costume and customs, and the contemporary customs that happen every day in the village. I’m always trying to be honest with what I produce. It comes from something I’ve lived or a reference I feel I can align myself with. I’m sure it sounds obvious but there’s a lot of things out there that lack sincerity or any kind of integrity. Hailing from Lymm, a village just outside Manchester, self-taught designer Sam Nowell is navigating the fashion
Who do you have in mind when designing? Do you feel
world with homegrown, autobiographical honesty.
like you have a certain kind of customer?
First known for his tongue-in-cheek repurposing of mundane items into clothing pieces, often working with
I don’t necessarily have anybody in mind but myself when
salvaged fabrics and referencing themes that defined his
I design. It’s all very personal, autobiographical. I’m very
upbringing in the northern English village. Nowell has
grateful that it’s been able to resonate with as many people
now collaborated with the likes of Wimbledon, TATE
as it has. I’d like to think the people who buy and support
and Depop. All alongside launching several collections
my work can relate to the themes and the graphics. It’s all
including most recently, ‘FETE’, a love letter to village
very nostalgic and there’s references from a wide range
life.
of sources, from bits of popular culture to obscure rural motifs.
Originally studying Architecture at the University of Liverpool, Sam grew weary of the unrewarding process
Do you remember when you were first exposed to Art
and looked elsewhere, “I don’t have any formal education
or Music, in a meaningful way that resonated with
in Fashion, having taught myself how to sew on a friend’s
you?
sewing machine when I was in my first year at Liverpool. I was bored of drawing buildings that were never going
I can remember being sat in the back of my dad’s car and
to be built and needed something more gratifying. I ended
being mesmerized by his New Order CD’s. I used to get
up using this sketchbook we were given to draw clothes
really bad motion sickness and remember just tracing the
whilst in lectures and on the bus back to my halls. I’d go
outline of the blue splodge of New Order’s ‘Best Of’ CD,
into charity shops or on eBay and find the most fabric I
I can still trace it now if I close my eyes. I think being
could for the cheapest price and then take it home and
that young and connecting these artworks to the sounds
start cutting it up. That’s how it all started really. Then I
that were coming out of the car stereo really influenced
wanted to be taken more seriously as a designer so started
me, later being obsessed with everything Peter Saville and
working within collections instead of one-off reworked
Factory Records, to the point of having the logo tattooed
bits. Here we are now.”
on me.
15
Words by Josh Whettingsteel
You’ve worked with Wimbledon twice now, are there
Words, phrases and sayings always find their way into
any other brands in particular you’d like to collaborate
my work and I think work really well thematically in
with or design for in the future?
my practice of attempting to comment on northern or British rural life. Growing up listening to the likes of
Working with Wimbledon was really special. I’d love
Kate Bush and Morrissey who are masters of using
to do stuff with Umbro, I always have done. Barbour &
music as a medium for storytelling, I was obsessed with
Baracuta too. I’d love to do something with Cath Kidson,
that, fascinated by that. I loved the idea of pulling from
which probably sounds a bit bonkers, but come on.
different mediums and working them into your own thing. Thinking about it now, it’s really the basis for my own
How do you want people to feel when they are exposed
work.
to your work? What’s been the main challenges of starting your own I want it to evoke northern English youth culture while
brand?
neither romanticising it nor sneering at it. That’s as The main challenge was that first step. I always tell people
concise as I can get that answer I think.
that. The first time you have to show your ideas to your Does music influence your work in any way? If so,
friends, then the internet. Its fucking daunting, it’s a very
how?
vulnerable thing to do. The references are obvious and the quality of what you’re putting out isn’t where you want
Oh massively. Lyrics will run round my head or be
it to be. But it’s so important to keep at it. I had really
scribbled into my sketchbook. Sometimes they’ll be
talented friends who were photographers and filmmakers
written onto shirts or serve as a basis for something I’m
and artists who could never make that first step, and never
making, or be the soundtrack to a show or a campaign.
went on to be what they wanted.
17
samnowell.com
That’s the single biggest challenge for anyone I think, the recognition and the money and the support will always come, but in that moment right at the start, you’re all by yourself. How has growing up in and around Manchester influenced you and your work? I think it’s a feeling of determination and drive that’s maybe not necessarily particular to Manchester, but more The North in general, and those frustrations from being in those anonymous surrounding areas that’s really spurred me on. It’s a constant chanting of the words “nothing will happen until you make it happen” that has always been there for me, and I think is a familiar feeling for Northern creatives, where the spotlight isn’t as bright as it is for those from London. I say that with no resentment, and reading it back I’m sure it looks that way, but please don’t mistake it for that. How do you feel about the brothers reuniting? Get tickets? Hahahaha I didn’t!. It’ll be a wild experience for anybody going, not sure it’ll be Knebworth, or maybe it will. Always love that quote from Liam about only playing two gigs at Knebworth saying how stupid it was, and that they should still be playing it now. Who’s your favourite new band? Splint. 100%. Manchester band with a really industrial sound that I can’t quite describe. There’s this real feeling of frustration from them, something I always love from a band’s sound. What are you currently working on? And what can we expect to see from you in the near future? I’m working on a couple of bits and bobs to close the year out. Nothing too nuts. Next year we’re working towards another show, there’s a few ideas bouncing around the studio - mainly screenshots from This Country.
@samnowellstudios
18
Within days of announcing the split of black midi,
Have you seen any good films so far this year, Geordie?
Geordie Greep spread news of a debut solo album, ‘The New Sound’. Whilst many fans took to X and Reddit to
I enjoyed the two Yorgos Lanthimos films [Poor Things,
console each other in a time of sonorous grief, Greep was
Kinds of Kindness], partially because my friend Jerskin
preparing an antidote for his fans’ suffering in the form of
Fendrix scored them. Did you hear about how that
his debut single ‘Holy, Holy’.
happened? Yorgos Lanthimos just emailed him saying that he was a fan and asked whether he would be interested
“It’s had the warmest reception yet”, he tells me
in scoring his film. He thought it was a joke, so he
before expressing his frustration at his previous bands’
investigated further, and it turned out to be the real deal.
divisiveness (as you’ll read later). For a musician who can
It’s pretty nuts, considering Jerskin only had one album
produce such a beguiling alchemy of different styles and
out which was rated, but didn’t do much. It’s easy to put
genres, Greep needed to move away from the constraints
an album out nowadays which goes into the ether.
which a rock band contains in its structure. It made perfect sense on this album, therefore, to travel to Brazil in search
Do you think that’s particularly pertinent today, or has
of numerous musicians each with their own distinctive
it always been the case?
flare and instrumental mastery. Indeed, this crosscontinental, big-band concept demonstrated on ‘The New
To get to number one in the 70s, you had to sell like a
Sound’ is set to shatter the walls of those small venues in
million records. Now, you have to sell maybe ten thousand
South London which Geordie grew up playing.
physical copies. So, the scale has massively shifted. If you put something out in the 70s and it bombed, it still
Whilst ‘The New Sound’ has no ear shattering feedback
sold maybe forty thousand copies. The top guys today
or the industrial, frenetic clang associated with a black
are living off what unsuccessful artists lived off then. It’s
midi album, it sounds fuller, or more sublime; written
practically impossible to make money in music these days.
for theatre halls brimming with the hustle and bustle of a
Either you fluke it, or you just accept that it isn’t going
cosmopolitan city; able to wedge itself into all the tight,
to be your primary source of income. Back then the small
under-the-table spaces where legs shake, and frivolous
guys could scramble together a living but now you can’t.
hands wander. “I want you to put your hand on my knee/
That’s why I like Jerskin’s story with Yorgos Lanthimos,
Will that be alright?”, Geordie narrates in ‘Holy, Holy’. It
there’s still hope.
really is hilariously revolting stuff. It’s a bleak landscape for sure. Have you ever been Grinning as I remove my headphones and raise my
approached or praised by someone surprising that you
eyes from the pavement to Geordie’s front door in
admire, like Jerskin Fendrix?
North London, I ‘KNOCK LOUD’, as instructed by a handwritten note. Geordie greets me with an unexpectedly
Not in any crazy way to be honest. There have been
shy yet welcoming hello and offers me a cup of coffee
people who I think are great who turn out to be fans, like
before inviting me into his living room. Upon crossing the
Steve Albini. He wrote numerous times online that he was
threshold, I’m met with a plethora of LPs (filed by genre
really into black midi. We ended up recording with him,
rather than a-z), and DVDs stacked like a teetering Jenga
which was surreal. It never became a normal thing, and
tower dangerously close to its tipping point. Then, my first
even afterwards it was bizarre.
attempt at polite conversation…
19
Words by Leo Lawton, illustration by Lacortei
Steve Albini saw himself more as a technician, the
That sounds very much like Dan Carey’s praxis. Is that
person who made sure everything was plugged in, and
what attracted you to him when looking for someone to
set up correctly. Not your typical creative director,
produce your debut album with black midi?
Rick Rubin style producer, right? Definitely. I remember Dan saying that no one would care There was no bullshit, he was exactly how he came across
whether the hi-hat was too loud, or too quiet. He said that
in interviews. He is someone who I listened to loads
the specific levels of each instrument in a track
growing up, so I was a bit nervous meeting him. After our
weren’t what made it a good song or
first take I asked him what he thought, and he responded
not. I really agree with that
with “I didn’t notice any technical imperfections.” That
point of view. People
was his line. He didn’t give an opinion about anything. In
often over-mix
the control room he would only listen to the drum track
songs to the extent
and one other track just to check that everything was
where they no
working. He didn’t have any interest in the song, but I
longer sound
think he liked it! He was a once in a generation kind of
like songs. It
guy.
may sound like a well
I read that he never took royalty credits either, only
put together
ever accepting flat fees?
thing, but not a song.
He didn’t take shit. He could have charged a lot more. I
Working
think his daily rate was $800, which is a fair whack of
with Dan
money but considering the number of great records he’d
was a great
worked on, it’s fucking nothing. One thing he told me
experience and
which I’ll always remember was that if a record is taking
he’s a nice guy,
longer than two weeks to complete, something has gone
but I haven’t
wrong.
worked with him since. I wonder
You recorded your new album ‘The New Sound’ with so
what it’d be like, I
many people that it might appear from the outside that
don’t know.
it could’ve taken more than two weeks to get down. Yeah, fair enough. From the first to the last song recorded, it was about nine months. But the difference was, we did it in chunks. Between each stint at the studio, [Producer] Seth ‘Shank’ Evans and I would record overdubs at one of our houses. The actual recording sessions only took about nine days in total. That was necessary because we
How do you feel about your debut,
had touring commitments with black midi. Also, I had to
‘Schlagenheim’, in retrospect?
find all these musicians. With my future albums, I want to make it as small as possible, even to the extent where I’ll
I think it’s good. People still like it. I think it still sounds
mix it the day after I record. The Jazz label ECM records
unique for the time. Back then, there were a lot of bands
had a great philosophy whereby the record label owner
doing this whole South London thing, trying to sound
produced every album. They would record an album one
like The Fall or whatever, and I think that album sounds
day and mix it the next.
separate to all of that. A lot of people thought it was crap, and a lot of people liked it, but at least it had its own little thing going on. It’s still doing ok.
21
Your forthcoming solo album will be your fourth studio
This record sonically references several different
album. Each one of your albums are very distinctive
styles of music, from Latin to Samba, Prog to Psych.
from the last. With that in mind, how do you feel about
There are clear nods to Steely Dan, Frank Zappa, and
those first wave fans who’ve stuck around over the last
Associates. Tell me about how it was written?
seven years. Every song I write starts as a pastiche of another song, Yeah, it’s cool! It’s good that they got into the
or a style. With black midi, we always made a conscious
first one, despite it being rough round the
effort to blur the lines of that, to rough it up and make
edges, a bit all over the place.
it crazier. What ended up happening, or what I thought
Importantly though, it
anyway, was that all our songs started to sound the same.
set the tone. For
It didn’t matter whether we started with a Tango pastiche
my money, this
or a Waltz pastiche, they would all sound like this blurry
latest track
mish-mash messy thing. With this album, I knew that the
which I just
humour of the songs would make more sense if the music
put out, ‘Holy
was stricter. I was confident that my vocals were what
Holy’, has had
would make the album sound original.
the warmest reception yet.
Is humour the main objective of the album? I laughed out loud multiple times listening to it. Yeah, and even with black midi I was always trying to make it funny. It wasn’t quite being taken that way, and a lot of people were even saying that it took itself too seriously. I would say well it’s meant to be funny, and clearly, they just don’t get it. In actuality, if people thought it took itself too seriously then it was probably a fault in the music; we weren’t making the humour clear enough. With this album, I wanted to make the intention as clear as possible. Humour in conjunction with some form of drama, or emotional response. Those two
My fear surrounds this notion that
elements work well together. That’s the essence of ‘The New Sound’.
someone could be more of a fan of a band than a
Often people try to dissect your lyrics or attempt
fan of the music, right. I’ve
to access some form of semantic link between
never understood that, when people get so obsessed with one
each line/verse. Are you someone who listens out for words in music?
thing that they can’t open their ears to other forms of music. That feels like anti-music to me.
I never listen to lyrics; I find it exhausting. Some people say that they can’t listen to a song unless they like the lyrics. I find that strange. For a lot of the songs on this album, I came up with the lyrics on the day. Not for every song though. Lyrics can make music better, but for me it’s about the music.
The songs paint very detailed pictures of these sordid
Does it stroke your ego when people react to your
characters who have promiscuous, fervent desires.
music in such a positive way like that?
They seem like stories which you must have come up with beforehand.
It’s one of them things. It wasn’t always like that. There was a point when black midi was a very divisive band.
Yeah, I knew what the punchline of each song was going
There was a period when everyone was like “these guys
to be, and then it was about working back from there. I
suck, these guys are shit, this is terrible”. What happened
never have anything fully mapped out, but it’s just about
quite a lot was that people would say “ah, the drummer is
putting together different verses and bridges which I have.
good, but the rest of them are crap. The singer is terrible,
With ‘Holy Holy’, I came up with the entire song whilst
what’s he doing.” We just trusted that what we were doing
watching La Dolce Vita in the cinema. Within ten minutes
was cool and kept going. Almost every magazine gave our
I had the riff in my head, and then halfway through the
debut a lukewarm reaction and criticised it for trying to
film all these children are having religious apparitions
be too clever, but said it was basically crap. Then, when
whilst chanting “holy, holy”, and I knew that was the
the third album came out, they all said it was good, but
hook.
clearly not as good as the first album, which was a modern classic. It was like what the hell!
None of the riffs on this album are challenging, everything is silky smooth and satisfying, quite unlike
It can’t have been easy to be in the firing line of the
your previous music with black midi.
press.
That’s the thing, keep it simple. That way, if you do
Everyone took it differently. We got into this straight
choose to do something crazy, it sounds way better. There
from school. I’m blindly optimistic, and I think maybe
is only one technically challenging part on the album
some of the others were a bit caught off guard when it
which is at the end of the instrumental title track ‘The
all started to happen. It was strange, but if you’re doing
New Sound’. In black midi we’d just do that all the time. I
music, that’s what you want to happen. I find it odd when
noticed this thing happening where the ‘muso’ guys would
people get funny about their fans or people coming to
pick apart a black midi song and discover that it wasn’t
your shows. It’s what you sign up for, you know. If you
that technical, and they were right, it wasn’t. But then
want to get a job, get a job. Some people complain about
the people who just wanted to listen to something nice
fan behaviour, I know I’ve done it. Ultimately though you
dismissed it and just thought it was way over their heads.
can’t complain, people are paying to see you play.
In the end no one was getting that much out of it. When you went to music school, did you know how Did you watch Justin Hawkins from The Darkness’
tough it was going to be to make a career out of playing
video reacting to ‘Welcome To Hell’? He picked out all
music?
your riffs which was amazing to watch. I didn’t know what I was going to end up doing really. I I loved that video, and he came across a great guy. I like
knew I wanted to make my own music; I had this drive.
The Darkness because their tunes are well put together,
It’s not that you want to make it work, it’s that you
and he’s a great singer. It’s not trying to be trendy, just
must make it work. It’s not even a question. Of course,
doing its own thing. All that Thin Lizzy stuff going on
there’s a lot of luck involved, and mostly a fair amount
with the guitars. Nothing wrong with that! That video was
of meeting the right people, but it’s healthy if you’re a
great though, he was right on the money.
young musician to have the attitude of keep going, keep practising. They say it’s a gamble, but so is everything.
23
Geordie Greep
Set up by Tyler Bainbridge, Alex Cushing and Serey
Now with their own site and community building app
Morm just over four years ago, the Perfectly Imperfect
in tandem, Perfectly Imperfect has been branded as a
newsletter initially engaged friends and rising creatives
rebellion against the algorithm, and whilst that may be
(ranging from musicians, actors, comedians, writers,
true, our take is that Perfectly Imperfect is the culture
podcasters and beyond) under the mantra of ‘cool people
fanzine for the digital age, placing curation and fanship at
like cool things’, and interviewed them for their life
the heart of every post. You may have come for charli xcx
recommendations.
or Kylie, but you’ve left with Chanel Beads, Been Stellar and MJ Lenderman.
With guests to date- there have been hundreds- including the likes of charli xcx, bar italia, The Dare, Anthony
Social media and its algorithms have strangled the impact,
Fantano, Mac De Marco, Lizzy Goodman, Model/Actriz,
readership and purpose of medium sized websites (not
Frost Children, Narduwar, Fcukers, Margeaux Labat
least, in music journalism), and in response, Perfectly
and Kylie Minogue, Perfectly Imperfect’s taste travels
Imperfect has committed to curation and trusted their
the breadth of alternative pop culture, but without the
guests to deliver the goods via a platform which is
predictability that can come hand-in-hand with campaign
genuinely worth visiting daily.
focused press articles. With Perfectly Imperfect, you’ll receive a succinct snapshot into someone’s world via
It’s been four years since you started Perfectly
recommendations that span products, music, movies,
Imperfect. Would you mind talking us through the
activities, foods, bars, fashion brands and lifestyle habits.
beginnings of it all?
What could have been an easily accessible, instantly
Yeah. So we started the newsletter four years ago. I was
gratified, buzzy instagram account with swipeable
still living in Boston, Massachusetts, and I was still
short-form insights into (now) celebrity lives, Perfectly
working as a software engineer. I had just gotten a job at
Imperfect opted for Substack, the mailer-come-blog
Facebook, which, you know, felt important for my career
platform which directed their impressively well curated
or whatever. But immediately, when I started working
recommendations directly to your inbox.
there, I was like, this sucks, it’s draining me. I need to do something that keeps me engaged and interested and, you know, something I can be passionate about.
25
Words by Sam Ford
We got involved in the music scene in New York,
There’s people that have started newsletters or like other
which was 2022, I met this guy, Blaketheman1000. He
similar recommendation style platforms that are way
introduced me to all these people, Frost Children and The
more successful on Instagram because you can just swipe
Dare and really let me see that there was like a music
through all the content, you don’t have to go to some
scene forming in New York. I met Harrison (The Dare)
website. Generally those are pretty short and I’m not a
like months and months before ‘Girls’ came out and
big fan of lists with no context. I don’t care that you like
he texted me a ‘Girls’ mp3 file at a bar, just like “hey
a movie. I care about why you like the movie. I think that
you gotta check out this like funny song I made”. And I
colour is really important.
thought it was really cool that people were sharing mp3sit didn’t seem like that was happening that much anymore
With everything so accessible now, and with our
and I was like, shit, this song rules. I was seeing Frost
awareness and scepticism of influencer culture at an all
Children play live and seeing a lot of these bands play
time high, is genuine curation and tastemaking more
live. And I realised that there was something happening.
important and heavily desired than ever?
In 2023, I got laid off from Facebook, which was a
I think in some ways platforms like TikTok have allowed
blessing in disguise because I used that severance money
for personal expression in a way that it’s never been seen
from the layoff to start to build this whole app myself. I
before where you now have like all these TikTokers who
got sick of tastemaker culture and all that kind of stuff, so
are like, here are the five songs that I listened to in the
I wanted to just build a platform where people can share
last week. And that is, it is personal curation, but it’s very
their own music taste. Everyone has their own little taste
easy to end up in a certain algorithm that only shows you
bubbles so I wanted to make a place where people could
a couple people that curate music. So even though it’s
connect with each other over mutual interests.
coming from an individual standpoint, you’re still seeing the same viewpoints because you’ve fallen into some
Perfectly Imperfect now serves as an essential
algorithm that decided you like Dean Blunt or whatever.
curatorial voice, opting for long term, consistent trust
And now you’re only getting people that are similar to
over the short term heat from one off critical takes.
that, which is great if you only like to listen to one kind
Was your intention to always create a platform that sits
of music, but with personal curation, in the way that we
between press and community, and why Substack over
do it, I like to think that you’re getting really spontaneous
the quick and easily consumable wins of social media?
moments to discover things that aren’t so driven by your own personal algorithm, you’re seeing people are really
The goal was to share, shed the light on an individual
dynamic and have lots of different interests.
through what they like. Because in 2020, I was starting to feel like everyone was talking about the same things
The most special thing about Perfectly Imperfect for
and everyone had the same algorithms and everyone
me is that trust in taste, which is ultimately just faith
was engaging with the same musicians. I wanted a more
in yourself. I know it’s different now, but the wheels
organic way to get like a glimpse at what someone likes,
started turning off the back of just championing things
and learn about different films or music or even just how
you liked right?
they like to go through life just through the format of recommendations. But I wanted to try to approach it in a
It’s kind of like a meta recommendation in itself that
way that was a little bit more expressive of a person rather
we’re saying like, we think you should care about this
than just like you should buy these shoes or you should
person. And I guess that kind of started from feeling like
watch this Hulu series. We have recommendations that
people that I thought deserved coverage or were doing
are like, you know, going for a walk after you eat or you
something interesting weren’t getting the right kind of
know, calling your mom or something. You learn about the
love. whether it’s just on social media or from traditional
person.
music journalism.
Perfectly Imperfect
26
I think it’s increasingly difficult to balance growing
Do you think there’s an unfair expectation on artists to
something. Like, we got a comment the other day that was
be complete or wholly original right away?
someone talking about how they missed when we did more people they didn’t know. And I think it’s really important
I think so. I think it almost feels like the more adventurous
to try to keep that in check as we try to grow things and
you try to appear with your sound, the more prone to
we’re getting people like Clairo and, uh, Alexa Chung. A
those kinds of accusations you become. Like all the singer
big part of our role is to still tell you about people that you
songwriter style music, like no one’s really going to give
might not know about already.
you shit because you sound kind of like Joni Mitchell or something. Like I think people can get off the hook
Is there also a side to you that’s also just ambitious for
depending on genre, but if you are trying to advance a
it to be huge?
genre or reinvent something, I think that’s when those kind of accusations start rolling in that you’re ripping off
Yeah, I mean, I never thought I would have had someone
this niche artist.
like charli xcx on Perfectly Imperfect. I was a huge fan for most of my adult life. I didn’t know that that was going
You know, at the dawn of post-punk or whatever, people
to happen, but I was always pursuing that knowing that it
probably heard bands like Joy Division or something and
could happen. I think people start projects and they’re not
then they did rip them off, but I guess the internet wasn’t
ambitious enough and will often give up before you can
a thing back then. So when they were finding out about
actually get it to the point where it can grow.
these newer bands, like they were less famous, and they felt like they were a part of something and contributing to
*we venture into a conversation about a guest that
something that was happening live. The internet kind of
cannot be mentioned yet and land on the topic of
flattens everything and makes everything seem accessible
people calling out imitation and how evolution of
to everyone, so people don’t feel like they’re discovering
what’s come before is called out unfairly in pop music
something niche anymore. Like it’s already there for
and with the unmentioned artist in particular…*
everyone. If it does feel like yours, it doesn’t feel like yours for very long.
…you’re seeing that same stuff with Harrison (The Dare) and LCD soundsystem and all those. I really think people are just incapable of recognizing genre and evolution. Like people can bring their own special sauce to something and it makes it just as exciting and interesting. Every time I hear someone groan about how much The Dare sounds like LCD Soundsystem it just hurts me inside. I’m like, You wouldn’t be saying Fontaines D.C. sounds like Joy Division or something, you know, like somehow it’s okay in guitar music but any other genre seems to be like ‘no, that’s that artists thing’. Rather than everyone’s making music, everyone’s inspired by people and are evolving sounds in different ways. Like the whole Indie Sleeze revival thing, I feel that has been such a missed opportunity. I feel like a lot of the music, like The Hellp or something, I feel like they’re doing something new, but it’s being packaged in a way that makes it feel like nostalgia bait.
27
Perfectly Imperfect
From the gritty, sweaty confines of Melbourne’s dive bars
Before then, however, So Young had the opportunity to
to sharing stadium stages across the globe with some of
talk with the band via video call and delve deeper into
the biggest names in music, Amyl and The Sniffers have
their creative process, the inspiration behind the album,
undeniably carved a unique path in the music industry.
and the incredible journey that has brought them to this
Their rise to prominence from Bandcamp obscurity is a
point.
testament to how the former housemates have been able to capture their infectious energy and utilise their raw talent
You’ve been touring extensively over the last year,
and passion through unwavering dedication to their craft.
playing to bigger and bigger crowds and alongside
Now, with their third album, ‘Cartoon Darkness’, the band
some of the biggest names such as Foo Fighters and
has reached a new pinnacle of their artistic evolution.
The Smashing Pumpkins. The recording process itself,
Recorded in Dave Grohl’s Studio 606 in L.A., the album
taking place in L.A., sounded like a bit of a rock ‘n’ roll
digs deeper than might otherwise have been expected
daydream. Despite all the excitement, the album still
to reveal the yearnings and frustrations that only these
feels firmly grounded and relatable. What’s the key to
uniquely modern times are capable of igniting. As such,
maintaining your balance between the thrilling and the
the band can be heard to venture into more introspective
playful whilst also exploring some bigger philosophical
lyrical territory, exploring profound philosophical themes
and personal themes?
and personal narratives amidst the confusion of a political landscape that seems to be falling headfirst into the abyss.
Amy Taylor: I feel like staying grounded is not something any of us are consciously doing. I think we’re all kind of
In between their relentless touring schedule, the group
like “it is what it is,” and it’s special, but lots of people
found moments of respite to gather and write new material
have this life. We’re not up in the clouds with it, I guess.
that would eventually shape their latest release. Beyond
We’re excited, but we’re not delusional… I wish I was
their fast and furious riff-centric sound, the album also
more delusional, but I’m stuck in reality.
sees the four piece embrace a broader sonic palette to accommodate the more melancholic moments on the
How did the writing of the album come about? Was it
record. The album’s debut single, ‘U Should Not Be
mostly written on the road or did it take place in the
Doing That,’ showcases lead vocalist and lovable live wire
studio?
Amy Taylor’s defiant attitude towards critics, while the subsequent release, ‘Chewing Gum,’ hints at the album’s
Bryce Wilson: Maybe it was nine months or something
more contemplative themes.
of last year. We had a big window where we were all together in Melbourne and had access to a studio that our
To celebrate the launch of the album, they get ready to
manager built. So in between every tour we would cram in
embark on yet another highly anticipated string of tour
as much time as we could get in the studio doing real kind
dates in the UK, Ireland, and Europe.
of crappy, scratchy demos and trying to get as much audio as we could.
Words by Ed Sargent, illustration by Zoé Maghamès Peters
30
We wanted to be as prepared as possible for when we
Gus Romer: I mean, personally, just fucking both. I’ve
could get into the actual studio in L.A., so it was a lot of
never really thought about it like that, but give me both,
mucking about in these tiny little windows that we had in
okay, I don’t know fucking to really pinpoint one or the
between tours overseas.
other.
Amy, you’ve been quoted saying that “everything is
Declan Martens: I think for me, I like thinking a lot, you
such hard work. Everything is heartbreaking, but
know? So if someone offers me a question that allows
everything is beautiful.” Would you say this has been
me to continue that thought or continue thinking, then I
your way of looking at the world for a long time?
really appreciate that. Then asking my own questions, you know?
A: For me, I feel like during this whole album process there’s been so much in the world going on. Between
B: Yeah, I feel similar. I also think no one’s asking the
the elections in America and the fucking genocide in
right questions often, though, and there are people putting
Palestine, and a lot of right wing governments getting in
it right in front of you and shoving it down your throat to
coupled with potential climate change and the confusion
an extent. So, yeah, it’s kind of a balance.
of AI, yeah, I feel like it’s really heartbreaking. But it’s heartbreaking because it’s beautiful. It’s because we like
A: I think it’s funny that a journalist asked that question
what is good about the world; it’s heartbreaking when
because that’s such a journalist way of thinking, but I kind
bad things happen. I feel like everything’s just an uphill
of agree with what the boys are saying. A lot of people in
slog in a lot of ways. I think everything’s super fun, but
music are rebellious by nature. If they’re told too much
there’s not much that’s light-hearted, so I guess it’s kind
what to do, then they might rebel against something that
of touching on that.
they actually never intended to, but it’s just because of their own, um, problems. They’ll choose to rebel against
Would you say the album is more optimistic or
the action. I do love when people speak in binaries, even
pessimistic?
if those binaries are just an assault of their ideas, because it’s super clear cut. I feel like we’re kind of more vague.
A: I think optimism without pessimism is stupidity, so I
I really like stuff that’s more subtle and satirical and
feel it’s optimism, while also being aware of realism. I
less directional because it gives you more space to think
guess because I feel like optimism without depth… It’s
about it, rather than being spoon-fed. Sometimes the
just airheadedness. It’s positive, it’s optimistic, in spite
audience is spoon-fed and so you kind of lose the ability
of it all, or maybe because of it all, because what else is
to critically think, and you need to be. I’m kind of talking
there, you know? There’s a strength in optimism.
about politics, I guess. But if you can’t even critically think in amongst your own… we’re left leaning, so among
When it comes to music (or any art, for that matter)
some left leaning people, you should be able to critically
do you prefer works that persuade others of a strong
analyse a song and take your own from that.
opinion or those which encourage deeper thinking through posing questions?
31
Amyl and The Sniffers
But in saying that, I do love a lot of bands who are just
The softer songs take a little bit more time to figure out
kind of like “fuck this…” I’m like, “yeah, fuck that!” I
how they’re going to be performed as a band. So now,
like Cardi B, you know, “I got a wet ass pussy.” I’m like
with this album, we were able to write more in the studio
“fuck yeah!”
where we could develop songs across multiple demo stages. In the studio, we were able to work on those softer
You’ve mentioned the fact that people are spoon-fed
songs a bit better.
information. In the age of the internet, people are just constantly bombarded with opinions that are not their
B: I feel like one of the biggest influences was not
own; it’s people just shouting stuff at you…
necessarily a band or a musician or anything, but access to some really quality gear in the studio. Maybe just
A: It’s interesting because I feel like social media is
what we’ve absorbed from being on tour as well. For
the halfway point between the computer world and the
me personally, there wasn’t any one band or anything
human world; the computer world speaks in binaries
specifically that led us anywhere, but we did have the
only, ones and zeros. It’s interesting that the way that
mindset of leaning into stuff that we haven’t really
humans interact with the internet is trying to be as binary
unlocked entirely yet.
as possible, like something’s good or something’s bad, or something’s popular or something’s unpopular. I think It’s
It’s been suggested that the album is one in which
kind of funny. It’s almost like we’re trying to speak the
you “wrangle with ideas.” To me, however, the
computer language without even thinking about it.
album doesn’t sound like someone working through something. It sounds more decided; an expression of
Sound wise, there’s a lot of diversity on this album.
the way in which you are approaching these issues; a
There’s the stuff that’s hard like ‘It’s Mine’, but there
demonstration more than an exploration.
are some really tender ones as well, such as ‘Bailing On Me’, a beautiful song that sounds like it almost belongs
A: I agree. I don’t think I’m necessarily working through
on a Clash album. There’s some acoustic guitars.
stuff. It’s more like the final decision. It’s like I’ve worked
There’s the song ‘Big Dreams’ which includes some
through it and this is what I’m telling I’m going to do
nice piano accents at the end as well. Were there any
about it. Even with ‘Doing In Me Head’, It’s like I’ve
influences around you that brought on this dynamic
already decided that I’m sick of ignoring the fantasy, like
diversity? Or was it a case of the lyrics themselves
I’ve already decided everything, which is kind of funny
pointing you towards this musical accompaniment?
because I actually don’t feel very decided in a lot of ways. I feel like making a decision is my way of dealing with
D: With the sort of softer songs like ‘Bailing On Me’ and
stuff, because you can “um” and “ah” about a million
‘Big Dreams’, they’ve always been within us, like when
things, or you can just do it. I’m a doer rather than a
we did ‘Caltex Cowgirl’ and ‘Knifey’, but I think in the
feeler, so it kind of makes sense.
past we’ve been very live performance-centric with our writing; we try to write for “how’s this going to go on the set?” sort of thing.
@zzoemape
32
What are you most proud of about the album?
We ended up in bloody Dave Grohl’s studio being recorded by a producer on a Neve desk that recorded
G: I’m proud that it’s fucking over and we managed to do
bloody Nirvana and Fleetwood Mac and stuff. When I
it. We all banded together. We did it. We didn’t fucking
think about that, I’m like “oh shit.” I’m proud when I look
kill each other or anybody else.
at the massive picture, you know, zoomed out 1000 times kind of thing.
A: We don’t want to kill each other, you just want to kill us!
A: That’s a good point. It’s not the actual process, but just like the whole lineage. Getting there, because it’s like
G: More importantly, I didn’t kill a certain few other
little pieces that all add up and then, you know, get us to
people outside of the band. Everyone made it out alive,
where we are, sort of thing.
that’s what I’m most proud of. The thing I like most about the album is that it Is it usually quite an intense experience when you’re
explores all these different things. It hits hard yet it’s
recording together?
tender in other places. But overall, I do think it is really defiant; it’s hopeful, it’s compassionate, and it’s sympathetic. Is that something that you hope listeners
A: Come on, Gus! Let it out, buddy!
will take away? G: Let’s just say I fucking hate recording. I fucking hate it. I haven’t enjoyed any recording experience I’ve
A: Yeah, that’s exactly right. I also hope that they can
ever been in. It’s not my cup of tea. I tend to get pretty
have fun and be light-hearted as well, you know. That’s
aggressive and negative at times, and really sad as well.
not to say I want people to be ignorant. I guess what I was
You know, I’m a fucking big ol’ bowl of emotion. I’m a
saying before about optimism and pessimism; it’s not that
sensitive guy under this big, tough exterior.
I want people to ignore any activism that they might be able to help with, or stop trying to help people who need
D: Let’s look into that…
more than them. I just want people in general to have fun and be light-hearted, be silly, and remember to laugh.
A: Yeah, are we just gonna move on from that or what?
Every now and then not to take everything seriously, switch your brain off and just be a dumbass for a minute
[All laughing]
as well as think about stuff.
D: How do you follow that?!
B: Be a conscious dumbass.
[Declan rejoins]
[All laughing]
A couple of people have touched on how we’ve explored
Was that the alternative title for the album?
a softer element with some songs, and I guess I’ve always known that it was in us to do that. So I’m proud of that,
G: That’s what Bryce says when he looks in the mirror.
that we were able to… I don’t want to use the word experiment… It’s more like, I’m proud that we explored.
B: Jeezzzz
B: I feel similar to Declan in the fact that we’re not, you
G: Hey, we’re laughing, guys. We’ve just got to remember
know, a bloody one trick pony playing two chords for a
to laugh.
minute and a half every album kind of thing. But I think what I’m most proud of is the fact that we actually got there in the first place, you know?
33
Amyl and The Sniffers
While Blood Wizard might still be a new name to many,
It was like 2022. At the start of the summer I was like,
its figurehead Cai Burns is resembling something of
“Okay. I’ll book an album recording session at the end of
an old head these days. Spending the best part of 10
the summer and I’ll just write an album over summer.”
years working the indie-rock circuits, whether that be
Then months went by and I hadn’t written any songs yet.
from his teenage years in his native Nottingham with
I’d spent the money on these sessions - I could only afford
boisterous punk-rockers Kagoule, or more recently, with
three days. I wanted to have a real studio experience. So
the sweetened, spindly indie-folk of pencil, Cai is a man
I was panicking at that point, on GarageBand, demoing it
who, in his own words, is “addicted” to music and its
out. And we only did three or four practices because I was
making, with no means of slowing down. If anything, he’s
having to drive back to Nottingham to rehearse. Everyone
only grown stronger and more enlightened in the face of
was feeling the pressure. Literally the band practice before
an often fickle industry that’s already served him his fair
we went to record, I remember having my head in my
share of pit-falls and successes.
hands, on my knees, thinking, “what have I done?” Then we went to the studio and it came together really well
Musing together over a drink at The Ivy House in
when we were there! It felt like it could have been a bit of
Nunhead, tangential chats about Nicolas Cage, our
a tragedy.
respective home-plumbing woes - Mine, toilet; his, shower - and the hidden subtexts in Nightmare on Elm
What are you most proud about with how it turned
Street 2 eventually crystallise around Blood Wizard’s
out?
excellent new album ‘Grinning William’. In spite of the gruesome blood-stained grin it takes for its artwork, the
I’m mostly just proud of the sound quality we managed
record is an astonishingly succinct, sensitive and nuanced
to actually do! Before, I don’t think I’d ever had the
amalgam of shoegaze, alt-folk, grunge, post-punk and
experience of doing it - maybe this isn’t the right word
psychedelic pop; a comforting patchwork quilt of all the
- “legitly”. It’s always been sessions every now and
styles and tastes Cai has accumulated over an increasingly
then, a bit more DIY. This one is a weird mix of the
storied musical life.
two. The first half of it was as professional as I’ve ever experienced. The engineer of that studio - a guy called
Even though Blood Wizard is effectively your solo
Kristoff - has clearly not left that room for like 15 years!
project, the new album feels like a band put it together.
I’ve never seen someone edit drums on the fly, without
It sounds like a rock record!
looking at the screen, and his hands are like [taps table furiously with fingers]. But then I recorded the vocals in
It does, doesn’t it? I think the project’s been undefined in
the same room we were drying our clothes in, in a house
that sense. We’ve danced around a little bit, but definitely
share. I’m glad it all sounds relatively polished, even if
with this record we operated more as a band. I still sit
a lot of elements are pretty janky. I think once you’ve
there and write all the demos, that doesn’t really change.
a good drum sound, that’s the illusion of an expensive
But with this, we had such a short time to do it, so it had
album!
to just be way more open in the way it was recorded. I think you have a weird relationship with anything that You only had three days in the studio right?
you make. There’s parts of it I was frustrated with for a while but I think I’m over it now. Now we’re playing it in rehearsal, it’s given me a new love for the whole thing and there isn’t anything I dislike about it.
Words by Elvie Thirlwell, illustration by Laura García Sánchez
36
What I enjoy most about the record is that it feels as
Since you’ve been a musician for this long, how would
if there’s always something new around the corner.
you reflect on where you are now?
There’s some heavier leaning stuff, the folkier songs, the psychedelic elements… I like how it’s able to
My relationship with it has been turbulent! When we first
transition through all of these styles while retaining a
started, I was pretty young. [Kagoule] started to gain
singular personality throughout.
traction while I was in college, and I didn’t go to Uni because of that. Looking back, it was all very fast. I don’t
One thing I was frustrated about was like “have I put
remember making decisions. There were a lot of decisions
too many ideas here? Why can’t you pick just one thing
made for me. At that point, my whole identity was like,
and just do that!” But then I thought about it, and that’s
“I’m just this musician”. And the times I struggled with it,
one thing I like to hear in other people’s music, to be
I very much attached my sense of happiness or self-worth
surprised. With this, and the future stuff, I’m embracing
to my perceived success of this project. It was exciting
what I liked the most as a teenager, leaning back into
at first. Then it got unhealthy. I started [Blood Wizard]
some heavier guitar music. For a while, because I was
with the idea that I wanted to have a bit of a different
doing Kagoule and Blood Wizard as a bit of an overlap, I
relationship with it, take it less seriously, and do things
was like, “oh that’s my heavy project, and this is my softer
in my own time. Obviously it’s evolved to the point now
project” Now Kagoule has kind of come to halt, I couldn’t
where I do have to take it a bit more seriously, but I think
actually help it. I tried to keep it folky, but I was there [in
I’m in much more of a level headed position to be doing
the studio], I had a Les Paul and a Marshall Amp and I
that.
was like “okay, this is getting heavy!” Being a musician can really suck sometimes. It’s a hard I wanted to talk about the imagery of the album. The
thing to keep going. Every saving I funnel into this thing.
music videos for the ‘Imaginary House’ EP were way
It can sometimes be like “like what the hell am I doing?”
goofier, but there seems to be a darker horror influence
Then at the same time, there’s moments where it’s like
now. You’ve got this horrible/amazing cover of a
“Yeah. This is incredible.” I’m still addicted to doing that
bloody mouth. It feels like you’re actually living up to
I guess. I can’t seem to shake it.
the Blood Wizard name now. What does success for Blood Wizard look like at the I think I’d agree. It’s always been fun/problematic being
moment?
called Blood Wizard, in the sense that the name’s this, and the music’s that. Before it was maybe a bit more goofy, a
Because we sat on the album for a year, it feels like a
bit more fantasy, where now, I’m trying to reel it in a bit.
success that it’s even out there! And even more of success
And it’s more my taste now. I love horror films. I love
is that people are responding really well. As far as goals
heavy music. It’s nice to explore that a bit more. Adrian,
go, I’ve got my tick list. A KEXP session! But if I don’t
our drummer has done every video. On ‘BIG FISH’, one
achieve them, then whatever, I’ve ticked quite a few of
of our friends Isaac, he made a documentary about moss in
them off already. With this record, I just want it to be
Scotland. I let him roll with it. Let’s get dark and mossy!
successful enough to do another one really. I’d love to go
We went to Tenerife to do one for ‘Grinning William’ as
play it in some other countries. I’d really like to play some
well. There’s a volcano there. It’s got this thing where the
festivals. I’ve not super crazy expectations for it…
landscape changes from woods, to sand, to black rock. You can do a video that looks like you’ve been to all these
Just a KEXP session then.
different places, but you really travelled 10 minutes. A KEXP would be real nice, thanks! You’ve been making records for like 10 years now. I only know you from Blood Wizard, I only realised yesterday you made your first album in 2015.
37
Blood Wizard
In 2019, after over a decade of campaigning, the name Pauline Forster hit the headlines after she won a landmark court case securing the future of the iconic East London music venue, The George Tavern. These days Forster keeps a lower profile, ‘I’ve quietened down a lot,’ she says. Yet, as a landlady, Fine Artist, and full-time messiah of indie music, she achieves more in a day than I might in a month.
However, we found time to chat over several blisteringly
So, I left home at 16 and started a handmade leather goods
hot days in August, and on top of the agenda was her
business because I had lots of leather clothing left over
favourite spot to swim. A toss- up between the lesser
from the ‘60s when it was fashionable.
known and not entirely legal Shadwell Basin, or a casual dip in London Fields Lido.
I was making bags, belts, waistcoats, and purses. I would hitchhike up to The Kings Road and down to The Worlds
With the ‘swimming business’ over and done with Forster
End and sell them in this shop called Gandalf’s Garden. In
imparted the unrivaled anecdotes of a life lived to the
my mid-forties, I sold the business and paid my mortgage
fullest, both in and around East London’s best-loved music
off to finally become an art student. I did the Tate Modern
venue, The George Tavern.
when it opened and that introduced me to London. At the age of 53 I sold the house and came here looking
Can you tell me a bit about The George prior to your
for somewhere that was non-domestic to live and work.
ownership?
I saw The George in an auction catalogue and I fell for it straight away.
Well, first off in the 1600s the pub was a coaching inn called The Half Way House, parts of that remain on the
Can you tell me more about your stint at The Tate
North side of the building and there’s an old vaulted
Modern?
tunnel beneath the pub which heads East. As an art student in Gloucester, I saw a smashed mirror During that period, there was a famous seascape artist
in the street so I got my van and picked it up. Then I
who lived in Stepney. He was called Robert Dodd, and he
mirrored a dustbin because I was going through a lot of
painted his largest painting, ‘Glorious Battle of the 5th of
inner turmoil and it was a place I could put all my ‘head
June,’ for the dining room of The Halfway House. It’s now
rubbish’ in and reflect it. It was tongue-in-cheek.
in the Greenwich Museum. Then I had the idea to mirror a car. So I went to the The previous owner was a footballer named Dennis
scrapyard and this guy found me a beaten-up Ford Capri.
Sorrell. Around that time, a friend of mine went in for a
I mirrored it and the number plate was ‘Dog On’ which
drink and said the Kray Twins were having their wake
reflected as ‘No God.’
there. It was a suited-and-booted affair, with black overcoats and polished shoes. That crowd all thought they
I intended to take it to London and unofficially tie it into
were gangsters, and every Sunday, there would be a big
something major. When I found out the Tate Modern was
singalong with this pianist called Joe the Fish.
opening it spurred me on, I knew I was going to do it there.
What led you to set down roots at The George? When we got there security just waved us in on the Well, I lived in the Cotswolds, where I brought up my
ground. They saw me coming and thought it was all
five boys. When I left school, I had no qualifications. I
official - I was so lucky. I slept in the Capri for three
seriously wanted to go to art school, but they wanted me
nights facing the entrance of the Turbine Hall. Almost
to pass English, which I failed three times.
immediately the press came down and surrounded me, asking for interviews and taking pictures.
Words by Issy Wetter, painting by Jonathan Madden. Prints available from maddenlondon.com
42
People brought me food and money and even prayed for
We had some quite famous people coming down there.
me. It was quite extraordinary. In the middle of the night,
Pete Doherty was always there, John Cooper Clarke was
they would look in the car and say things like ‘I wonder
around, plus Tracey Emin and all that lot. I-D Magazine
what that plate means?’ - Meaning the one I had just eaten
did a whole issue at The George and Nick Knight shot it.
my food off. We would put on themed nights. A Dada night based So how come no one removed you?
around the art movement and a ‘Moth Ball,’ when The George got riddled with moths and we all wore moth-eaten
At first, they wanted to avoid causing a fuss in front of the
clothes. Another time I brought my bed into the bar for
press. They even sent down a menu on the first night. But
a performance called ‘Dreaming For Change.’ So people
soon they started getting tetchy.
would come in and my bar staff would say ‘Pauline’s dreaming for change, you can join her.’
Eventually, security smashed the doors in and pulled me out. I had a pair of leggings on and a vest, no shoes, and
Sometimes it can feel like London has lost its
nothing in my hands, and they just dumped me in the
spontaneity.
street and left me there.
Then I saw the lorry take the car and it was off. They’d
It can. It’s a bit like when I dragged the plank, did I tell
taken my power away - For a minute.
you about dragging the plank?
Do you feel hopeful about the future of Independent
No!
Music Venues? I did a performance called ‘Dragging the Plank’ for 12 I do, but the overheads are very expensive. You’re paying
hours starting from The George. I came up the escalator in
for sound engineers, equipment, security, licensing, and
Canary Wharf and they [The Police] came swooping down
insurance. Last year, our electricity cost 36k, and it went
on me saying ‘You’re not allowed to drag planks.’ It was
up from 12k in just one year. Insurance is also roughly
Christmas time and some people thought it was a reference
12k, and there’s only one company that will insure small
to Jesus or that I’d confused Christmas with Easter.
music venues because they’re so precarious. I’ve been A very polarising plank then.
going for 21 years, and it was easier in the old days. For a few years, we had some amazing nights on the 1970s light-up dance floor that Duran Duran enjoyed a weekend jam on.
43
The George Tavern
Yeah. That stuff is really interesting to me, people’s
If you could take over the nightclub attached to The
reactions, seeing what’s acceptable and what’s not. It’s
George, what would your plans be for it?
also just a bit funny. So anyway I thought I’d give the Tate Modern another go and I went down into the turbine
I want to restore it. It would be wonderful to get it going.
hall with my plank and suddenly it was like ‘You’re not
A jewel in the crown of East London.
allowed to do that.’ Do you miss it, living at The George? Bet you got deja vu. I do miss it. But when I go there it’s like going home. Yes. I got chucked out of the Tate Modern (Again) then I took my plank on the number 15 and went back to The George. I always feel a great sense of achievement when I do something like that. I think to myself that I’ve still got 2 legs and 2 arms and I still like to do things and I don’t know what I’ll do next.
How can we continue to support grassroots venues? By going. Support all the bands - Nobody wants to go to a gig where there are half a dozen people. The more the merrier, if you get a big crowd the atmosphere is great and everybody has an amazing time. Keep coming, buy a drink or a pizza and a T-shirt because I’m still fighting more battles with developers. Also, the money from the door goes to the promoters and musicians so it’s helping keep the culture alive. London benefits so much from these grassroots music venues which make it a cool city and we’ve lost so many already..
maddenlondon.com
44
Beloved London indie-artist Nilüfer Yanya made her musical return this year by means of her third record, ‘My Method Actor’, an explorative and expansive collection of tracks that stays true to her signature sound whilst boiling it down to the essence of itself. In a process that she later refers to as “distilling”, ‘My Method Actor’ saw Yanya retreat into a period of music-making with her longtime collaborator, Will Archer and very intentionally decide to craft the album between just the two of them, this process inevitably gave room for experimentation without fear of judgement and without any danger of influence. What was left in ‘My Method Actor’ was a lovable next chapter, from the quietly vulnerable ‘Binding’ to the addictive folk tones of ‘Just A Western’, ‘My Method Actor’ sits in the place it’s made for itself so comfortably that it’s futile to doubt its authenticity. Only a few weeks on from her album release, Yanya called me early the day before beginning a long period of touring to consider how exactly she got to ‘My Method Actor’ and where it’ll take her next… What are you up to this morning? I went to pick up my outfits for tour that my friend made because I’m leaving tomorrow. We did some custom pieces which is really fun… Oh that’s so exciting! That’s nice that it’s your friend as well - do they have their own label? Yeah, she’s got her own brand called SELASI, she does photography as well so she’s always working on a bunch of things. We’ve been friends for a long time and we’ve always wanted to do something together. That’s so cool! Congratulations on ‘My Method Actor’, what have you been up to around the release?
45
Words by Amber Lashley, photos by Molly Daniel, illustrations by Holly Thomas
I literally haven’t stopped moving. The week before the album came out we did a run of instore shows in record shops around the UK, so we’ve literally been on tour already! It was really nice - and then the album came out and we just kept going. This is now your third record, would you say you’re more familiar with the process of making an album now? Yeah, a lot more familiar! I’d also say this is the first time I feel like I really took it seriously – not that I didn’t take the others seriously – more in the sense that we really set it up in the correct way. With the other albums I seemed to just fall into writing, everyone would be like “that’s ok you’re an artist!”, but there’d be no structure or plan. So this time it was really cool to be working with more of a vision - a plan. It wasn’t over the top either, I was working with Will Archer who I’ve been working with over the last three records. On the first album we did some covers and interludes together, on the second album we did about 70% together, and this time we said “let’s work on it just us two and let’s be really intentional about it”. So that made it more serious in a way. I was able to give it the attention it deserves too, in the past I’ve had to be touring or playing a lot of shows at the same time, or it was covid! Also, for the first time I had my semi-own-studio on some of the days. I just feel like I focused a lot more, it feels like a first record in a way, kind of starting again with everything I’ve learned. Is there anything that stands out to you as being an effect of that increased focus? I think it distilled it in a way. One of the things I’ve been learning about the way my ideas work is that I try to put a lot of ideas into one thing, you can do that, or you can distil it and run with the strength a good idea can give you. You can stretch it out and try to make it work as long as possible - I think that comes from a place of more confidence and security in your ideas.
It must be really refreshing to have a moment to fully
That’s probably the biggest difference on this album but
focus in on something. You’ve been working with Will
it’s just kind of the way we ended up working together,
for a while, so I’m assuming you’re very creatively
we got into a flow, which is cool because you get given
comfortable with him. Did you have an opportunity to
that idea and then you can keep adding things to it. We
experiment with anything new in the making of this
could’ve written like five songs together and left it at
album?
that, I could’ve added my own five songs or worked with someone else, it still would’ve been good but it’s great to
I feel like it’s all quite new, we kind of went off the back
elongate, stretch it out and see where it takes you.
of the last things we’d made for ‘Painless’, we used them as a blueprint for these songs. I mean, we didn’t say that
You were saying you had your own studio space this
at the time, but we were often referencing “oh, it’s kind
time too, so beforehand, would you mostly write at
of like this or that”. This album is more playful with
home?
structure though, we’re more playful with the ideas, and in Yeah, Will has a studio as well so I’d work with him there
pushing them to their full potential.
sometimes but a lot of the time I was home. I started Was there anything from your previous projects that
‘My Method Actor’ that way actually, it’s tricky though
you wanted to keep consistent, or maybe something
especially when sharing with people, you don’t feel as
that you now consider signature in your sound?
safe to let go. It’s nice to be able to try something loudly without worrying that someone’s coming home. Also,
I think guitar. To me, they still sound like rock-guitar
everyone else goes to work or has a workspace, I’ve never
songs, it’s always going to feel that way, with either a
actually given myself a space to work…
guitar or something that’s string equivalent. I’m really bad with genre but I’d be very surprised if I made something
What are your plans for the rest of the year?
that didn’t somehow fit into that world, I mean, never say Literally just going on tour for the next few months, we’re
never.
going to head to America, and then we have the UK and You’re right, there has definitely always been that
EU tour. It’s all going well so far, and depending on what
baseline guitar, but is there anything about the music
happens I might do a bit more writing then or just try
now that isn’t how you expected it to be?
and see my family, but I’m working for like two months straight! It feels like it’s already started as well. I haven’t
Yeah! With the way me and Will wrote the album I wasn’t
been doing my normal things, I haven’t had a routine,
actually writing any of the music side of it, I was doing
that’s how I know tour has started!
the melody and the lyrics, which is kind of weird? I never saw myself being that kind of artist! It doesn’t have to
Do you have a way of keeping yourself together while
define you and I don’t have to see it in a negative way.
you’re touring?
I was doing a Reddit Q&A yesterday and someone was like “yeah, it’s on the credits, you’re not credited on the
I try and think of things to do while we’re driving a lot,
instruments” and I was like “yep!” It’s weird to read
so I’ve got… oh my god, I actually don’t have a lot of
actually. I still think of myself as a guitarist and musician,
books ready right now, but I’ve said I’ll get loads of
but the way it turned out, I loved all the ideas that Will
books ready! I want to do a bit of learning, I’m still trying
showed me. His ideas just blew me away and I’d be like “I
to learn Turkish, it’s a lifelong goal. I might go see my
can’t really top that but I can add something else to it that
family in December too so that’ll be a nice thing to work
will really make it my own”.
towards.
47
@madebyhollythomas
For many people, disillusionment leads to ennui and
Unapologetically and refreshingly confident about their
inactivity. For bed it dramatically drives them further.
goals and aspirations for the future, whatever bed want,
Hailing from Tokyo and Osaka, this four piece are set on
bed will get.
reversing what they see as Japan’s trapped popular music circuit. There is no longer a pressure for these seasoned
It’s interesting that your first ever album release was
musicians - Une (vocals), Joneu (guitar), Shinji (bass) and
a live album - something quite rare for a band to do -
Shun (drums) - to pander to an industry that drains artists
what was the intention behind this?
of their personalities and as a result has stagnated the progress of Japanese music on a world scale. Reflecting
UNE: We want to release our first studio album when it’s
on ‘an industry structure that has not been significantly
the perfect time - sometime in the distant future where
updated since the 20th century’ and the ‘narrow range
it can reach beyond Japan. Bed is different from most
of cultural education’ given to their country, bed want
Japanese artists who can’t even organise a live show
to single-handedly take on the burden of reversing this
if they don’t release an album. We don’t need to rush
history, as they believe no one else is up to the challenge.
ourselves with the ‘conventional wisdom’ of what an artist should do. In the Japanese music industry, albums are
Whilst bed have openly denounced ‘saccharine’ J-Pop
reduced to promotional tools for gigs/tours, and in order to
and rock, this doesn’t equate to a rejection of these genres
accumulate as many of these (gigs and tours) as quickly as
altogether. The four-piece are still very much enchanted
possible, low-quality albums are made at short intervals.
and inspired by such music, and this love can be heard
From the beginning, we decided to free ourselves from
throughout their dynamic shows that flit between heavy
that stressful hamster wheel. To do this, we have to create
rave basslines and silence, English and Japanese, total
opportunities. At this stage, that means live gigs. If you
crowd immersion and isolation. However, what’s different
generate enthusiasm there, it becomes word of mouth and
is how they bring these styles to new audiences.
works as promotion.
When we interviewed NYC’s Fcukers in a recent edition, they spoke about the need to transcend the limitations
SINJI: At the moment, we won’t tear our hair out creating
of live gigs - bed feel the same way. Taking Shibuya’s
a dedicated marketing-specific listening product aimed
clubasia by storm, bed constantly curate what seem to
at getting on playlists (the usual routine that artists are
be incongruous lineups of DJs and bands that ultimately
required to follow in the Japanese music industry). The
‘converge as harmonious chaos.’ These nights are
essence of bed’s music now lies in its live expression.
about ‘feeling pleasure with pure, physical, dopey yet
The songs we are currently releasing, including the live
frivolously entertaining music.’ In this way, bed are
album you mentioned, are just positioned as a soundtrack
creating their own culture in a landscape that restricts
to reflect on the frenzy of our live shows. In other words,
them from their full potential.
the intention is different and we will move into the ‘first album’ production phase as soon as it is ready.
Words by Poppy Richler (Translation: Mami Kondo Hartley), illustration by Mamo Kawakami
50
There’s very little information about you online,
That’s how we see it. bed is based in the Tokyo club
though there is a reddit thread pronouncing you as ‘the
scene amongst techno and bass music DJs. The parties we
most interesting thing happening in Japanese music
organise, such as ‘bedroom’ and the free admission rave
right now.’ Based on the history of modern Japanese
‘uzu’, bring together cool acts and their fans who believe
music, why do you think this person has said this about
in nothing but musical frenzy, transcending the boundaries
you?
of techno, hip-hop, ambient, psychedelic and more.
UNE: The best example is that we were chosen as
Incidentally, we perform with a very orthodox rock band
the support act for Fat Dog’s three city Japan tour in
format: drums, bass, guitar and vocals. Picture a weekend
December. Of course it’s common for Japanese bands to
in Shibuya, Tokyo, after 2am, peak nightclub time - a floor
open for overseas artists, but they’re often billed as the
packed with a chaotic crowd. On stage there’s a four-piece
underdog who got the gig on the basis of pulling power
band. Interesting, don’t you think?
and label politics. Very interesting indeed. I’ve heard that you don’t This has been the norm until now. Now, when you hear
speak at your shows. Assuming this is true, is there a
that ‘bed will be accompanying Fat Dog on their Japan
purpose behind it or do you just find yourselves more
tour,’ it naturally makes you feel as if you’re on equal
comfortable in silence?
billing. I hope you understand the difference. UNE: When we started bed, we decided to base everything bed has the rare potential to kill it on the big stage
on how we feel and what we see as cool. From this point
with Fat Dog who is ‘the UK’s current next big thing,’
of view, I dislike the MCing that Japanese musicians do on
even though bed is at best ‘rising stars of the Tokyo
stage. In previous bands, I felt obliged to speak on stage.
underground.’ Of course it’s strictly true that we’re the
In bed, I don’t do anything I don’t want to do throughout
support act, but I think we’re the first band in Japan that
the shows (the shows being the most liberating moments
makes you expect something new to happen there; a
of my life). If there’s silence between songs at our shows,
synergy that has never been seen before.
it’s part of the performance and is considered to be a meaningful silence.
No matter what kind of musicians we encounter, you know we can step up to the plate. Small venue or big venue,
SINJI: If you were watching a film, you’d feel
alternative rock or classic rock. Cool or funny. Classic
uncomfortable if every time a chapter ended, a character
or contemporary. In Japan or in international markets. Of
in the film looked at the camera and thanked you for
course, there are bands that are ‘better’ or more talented in
watching. Or what if in the next scene they explain what’s
something specific, but I don’t know any other band that
going to happen, or they shed a tear and tell you about
has the all-round strength bed exudes. I like bed more than
their personal history? We prefer to communicate with the
the guy who said that in the Reddit thread, so I’m going
audience without words, and we think speeches are rather
to say it loud. We know the secret of the recipe and we
counterproductive. You’ll understand all this if you see us
don’t want to reveal it all here, because there are people in
live!
Tokyo who want to steal it. Your video director TROY says he likes to include SINJI: Most bands in Japan dream of being part of the
concepts of fear in his videos for bed - something
existing J-pop industry structure. Or they want stardom
particularly evident in ‘Kare Wa’. Your music is very
only within the exclusive villages of hardcore, metal, emo
dramatic and mirrors this adrenaline - do you see fear
and the like.
as something more psychological or physical? And how does this manifest in your music?
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bed
UNE: I think awe is a better word than fear. Do you get the nuance I’m talking about? It’s more like an encounter with the unknown as opposed to horror. If this feeling could manifest in music, it would be bed trying to swallow everyone up in a mass of sound. SINJI: When fear takes over, the body should be so weak that it can’t stand. Conversely, awe has a dynamic energy we are more like that. You’re often referred to as a ‘rock band’ - what does this mean to you and who symbolises this music apart from yourselves? UNE: Here in Japan, ‘rock’ and ‘band’ have degenerated as a subculture over the past ten years or so. They’re now perceived as lame terms. This is due to the low quality of rock and band culture, but also to the rise of hip-hop stars and pop idols with high quality performances and branding in the mainstream. On the flip side, I imagine that now is the time for a cool, strong, rock band with genuine charm and a touch of humour, to emerge and counter the music scene - it could be possible to turn everything upside down. We want to carry this burden ourselves and expect bed to rise beyond Japan. We believe in overestimating ourselves. I can’t think of anything other than bed when it comes to a scale that big. All the great rock bands for me in the past and present were all alternative and never more than Galapagos (which isn’t necessarily a bad thing, it’s mostly beautiful). A lot of the time mainstream music is associated with the death of ‘cool’ - because of this, would you say you’d rather resist reaching this place? UNE: There should be artists who become mainstream dwellers without losing their coolness. In fact, most artists’ coolness is already dead before they set foot on that ground. bed has decided from the start that wherever it goes, it just won’t die. SINJI: Exactly!
@mamokawakami
52
Gracing the world with their debut EP ‘Twist Grip’ just last month, London’s Hank are a spectacle. A tasteful mix of noise and shoegaze melted together by a five-piece of musicians breaking their burnout with tunes directly sourced from their hearts, and most importantly their tastes. Coming together at the tailend of the lockdown, the band has been through multiple lineup changes and some of the tracks have been completely rewritten. ‘Twist Grip” is ultimately the culmination of that change, with the band unafraid of sharing their abstract instrumentation and releasing emotions that had previously been burrowed.
With the rest of the band preparing for their tour supporting Crows next month, I sat down with lead singer Lola Stephen at midday on a hanging autumn Saturday. In a way, the perfect setting to discuss their EP; a record built on finding the extraordinary in the darkest places. I think it’s best to address this before we start, where does the name Hank come from? My auntie had this giant cat called Hank when I was a kid, and the name has always stuck with me. It seemed like a funny name for a cat and I wanted to carry that essence into naming the band.
Lots of acts will claim that their band name embodies their sound, does the name have any connection to the music at all? I think names and band names are a tricky subject because in this case the name just came and we all liked it, there really wasn’t much thought that went into it at all it came very naturally which sort of represented how we came together.
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Words by Peter Martin, artwork by Marco Pini
Honestly, I’m a big fan of band names that are literally
Did the change to the London scene intimidate you?
just one word… I felt it a little at the start when I didn’t know anyone, I I imagine some people will think it’s shit but I think it’s
found friends by going to gigs. Everyone sort of felt that
better than a super long band; I’m a graphic designer so
same kind of mutual fear but when we came together it
whenever I see them my first thought is “How’s that gonna
become nice.
fit on a poster”. Also when bands have song titles that are like 3 lines long it feels like it’s spoiling the themes of the
Let’s talk about your debut EP ‘Twist Grip’. You have
song a bit, I like to be mysterious.
a lot of versatile musical ideas going on, what other artists were you listening to when writing it?
What experience did you have coming into the formation of Hank, were you in the music scene back
The songs in the EP came together over two years and as
in Dundee?
a band, we’ve gone through multiple influences; it’s only right that we state the obvious in My Bloody Valentine,
I wasn’t really in the Scottish scene but I moved to Perth
The Breeders and Sonic Youth but also lyrically I was
after university and I was in the music scene there and
inspired by Fiona Apple.
that showed me camaraderie because everywhere else I’d been to felt a bit disjointed. That’s probably because
What part did the harsh guitar sounds play in your
I’m from Dundee where there are not really any music
side of the songwriting?
venues. Edinburgh was mostly full of students wanting to go clubbing and many venues have shut down. Perth has a
I just really love loud and ‘horrible’ guitar noises. It
very close-knit talented music scene where everyone was
scratches a part of my brain to the point where if I need
nice to each other.
to concentrate I’ll put something harsh on to drown out any other thoughts I have in my brain. Going back to My Bloody Valentine and how they tend to start their albums with this wall of guitar noise, we definitely wanted to emulate that on our opener ‘Angel Says’.
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The vocals throughout the EP contain a duet element
I think we tend to get quite self-aware performing and
which beautifully contrasts the instrumentals
we still have lots of nerves, but ultimately yeah we’re
throughout, at points were you using those twin vocals
having lots of fun, especially when you lean into it. I
to illustrate the narrative of your lyrics?
love everyone in the band and it’s a joyous experience to perform with them.
I just really liked the dynamics of a male and female voice and the contrast between the two, Hank’s gone through
Next month you’re joining Crows on their UK headline
many changes as a lineup. I think in the songs with that
tour, how are you feeling about it?
element, the lyrics are quite abstract so I don’t think the vocals play a part in telling the narrative, but more just to
I’m excited, It’s lovely to bring these songs to other
heighten the sound.
places. I’ve toured before but with other bands, driving, selling merch, everything but performing, so it’s cool to
The song that’s stuck with me the most from your EP
finally get up on the stage and perform ourselves. I’m glad
is ‘DYLM’. It’s such a raw and personal song. Did you
we get to experience it.
struggle with putting it out? Do you have any pre-show rituals? So much, I find it so hard to be vulnerable, I hate talking about anything. I think that song had lots of lyric changes
Drink a pint of Guinness and a half!
throughout the struggle. The hardest bit is performing it; Why specifically Guinness?
being in such a small community and having to perform that track in front of your ex’s friends is so scary. It’s the hardest song because I’m completely honest throughout
I think it just hits the sweet spot for all of us, definitely
it. Aside from the rest of the EP I’m trying to be abstract
helps with being self aware on stage for all of us. To be
lyrically.
honest I wish we didn’t have to. I kind of wish we had a handshake or something but nah it’s just a Guinness.
It’s always nice to take such an awful experience and come out the other side having benefited creatively…
What about a Post-Show ritual?
Absolutely, I was going through a rough breakup and I
We’ll have a chill and catch up about what went well and
felt I needed to capture that moment as it was happening.
what didn’t, then another Guinness.
Now being so far past it I’m really glad I did write it and release it because I’m really happy with the track. Especially Charlie’s guitar part. You just performed your first ever headline show at Third Man Records’ Blue Basement, how was it? We really enjoyed it! It was our first show performing as a 5 piece and we had a great reception, lots of lovely faces in the crowd. We played one the next night in Brighton which was also amazing. Definitely riding off of that high! With the EP release and everything getting a bit more serious, is it still fun?
55
@ggskips
Self-taught Irish artist, Peter Doyle’s trajectory over the last few years has been unavoidable. His dream-like figurative portraits of those around him emphasize his distinctive point of view. We’re admirers here at So Young and with an LA solo show on the horizon it felt like a good time to catch up with Peter and delve into his painting process, talented friends and inspiration. What inspires you to start a piece of work? I draw inspiration from a lot of things. My work being mostly figurative I am inspired by the people around me. I tend to work from photographs now as it gives me more time to look at the subjects and a better idea of how I want the work to be laid out on the canvas What’s your routine like? How do you begin your painting process? I tend to work at odd times in the day really, There’s no set routine of a 9-5 although I do like to work in the morning then take a break around lunch time and go for a walk, grab a coffee. Maybe have a poke around for some ideas or look through pictures of what I’ve been working on that week/morning. I have my studio in my house so I find that suits me well when I have one of those quiet days and the guilt sets in. I can jump back to it at anytime!
57
Peter Doyle
Do you remember when you were first exposed to Art,
Would you say there is one theme, however vague, that
in a way that resonated with you?
runs through all of your work?
I’m sure I was brought to the national gallery in Dublin by
My work consists mostly of people in various
my folks. But nothing really had a lasting impression until
surroundings. I’m pushing it back more and more at the
I was older. I was into that old New York style graffiti, I
moment to just be focused on the subjects at hand. There
watched a documentary called “style wars” that changed
is a theme of togetherness throughout.
how I thought about the graffiti/fine art co-existing. When I got to be in my early twenties or so I was looking
Your work has been used across several music
at painting and its practises a lot deeper. I wanted to
campaigns but does music influence your work at all?
start making work on canvas so I had met a pal in a pub in Dublin who had a storage space. Cleared it out and
I do listen to music a lot while I’m working. I also have a
starting making work on canvas.
monthly show on NTS I have been doing for some years now. So when I’m not painting I’m finding music for that.
Are there any questions you’re trying to answer in your
Last winter in Dublin I painted a lot of jazz club scenes.
work?
Piecing together old photographs and personal pictures. That was some of my favourite work. So yes. It does
Well, I like to make my work have a feel of movement.
influence work from time to time.
The work itself is very much about the present moment and the people I capture within that. I find I do plaint
What are you currently working on? And what can we
scenes mostly of people in a not so fully formed room or
expect to see from you in the near future?
context, but it is totally up to the viewer to see what they feel from the work. There’s no one answer that comes to
I will be starting work on a solo show in Los Angeles.
mind for me anyway, I just enjoy painting them this way.
And a few more bits scattered around.
How much of your personal experiences are in your paintings? As the works do involve myself and from the pictures I am taking while out and about I would say a lot of it is personal experience. And how I see things in that time. Whose work do you admire and why? I’m pretty lucky in this regard as I have friends doing some great things. To mention a few I would have to say I love the work that Fontaines D.C. Eimear lynch, Ewen Spencer, Simone Rocha, Mattea Perrotta, Domino Whisker and George Rouy are making. That list can go on and on. I have a lot of admiration for anyone doing what they love to do. And in those people I named above that really shows.
@peterjrdoyle
60
By virtue of quietly working away over the past couple of
That big tangle of emotions seems to be what so many
years, Nottingham’s Divorce have managed to find their
people love about your music…
own distinct voice within the bustling guitar scene. With their sonic palette often wandering into warm and folky
Tiger: We try to be direct and straight from the heart and
territory, they’re perhaps more aligned to stateside forces
it’s always served us well looking back on our previous
like Big Thief and Soccer Mommy than anything closer to
releases so that’s something we’ve tried to carry forward.
home.
It’s human nature to have that sort of darkness and beauty in there at the same time.
Catching up with So Young over a call from their respective homes, vocalists Tiger Cohen-Towell and
The humour is really important in our writing as well,
Felix Mackenzie-Barrow are all smiles as they instantly
like the darkness doesn’t come through in a super direct
start discussing the response to their new single ‘All
way. I think because we kind of make fun of ourselves and
My Freaks’ - a raw and instantly disarming ballad
‘All My Freaks’ is a really good example of that, there’s
that instantly pulls you into their world as their vocals
definitely self-mockery across the whole album.
intertwine over mainstage grandeur. F: A lot of the imagery throughout the album is “The response has been everything we could have possibly
fundamentally pretty absurd. I think part of that comes
asked for,” says Cohen-Towell. “It’s funny, I think people
from growing up in the Midlands, like there are elements
will begin to realise that the lyrics are actually quite dark
of that inherently in us as people and it’s resulted in
even though we wanted the sonic kind of palette to be very
something funny, eerie and strange.
warm.” They say it’s a fitting first taste of the full album ‘Drive To Goldhammer’ which will drop early next year.
Do you think that Nottingham identity comes through
“The whole record is kind of like that as you begin to peel
in the album then?
back the layers and dive in deeper.” T: Definitely yeah, I won’t speak for everyone but I think How are you feeling to have the first single of the
we’re all very proud to be from the Midlands, specifically
album out in the world?
the East Midlands, which I think has its own very strong identity but it’s different when you’re a teenager growing
Felix: It’s a reflection of our mindset of the last couple
up there.
of years in this band. We have so much love in our hearts as people and so much warmth as a group, but it’s a
F: You aren’t really aware of that identity at the time
complicated world. So it’s been really lovely to see the
because it’s not something that has a lot of national
response and I’m glad people have received it with open
weight. You grow up wanting to get out and escape
arms.
because thinking life is elsewhere and scenes are elsewhere. When you’re younger as a musician, I think there’s a feeling that you have to get out.
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Words by Rhys Buchanan, illustration by Cameron JL West
T: I think this record is very reflective of the fact that the place that you’re from does just inherently stay with you and you find it everywhere. That attachment to home almost grows stronger once you uproot… F: There were things I hated at the time, like some of the attitudes that are a result of some pretty backwards ways of thinking because of deprivation over the decades. I guess it’s this pent up anger that ends up fueling a pretty toxic environment at times. When you move away your perception of home is recoloured though and you can see the warmth and humanity. T: There’s definitely a duality to it, nothing’s as simple as ‘people are horrible’, sometimes the good things take precedence, everybody has the same problems and there is no perfect place. It’s a messy thing, and I think it almost comes through like that in the record. The last few years have been really busy for you guys, I guess you’ve had a lot to learn touring around Europe and beyond which cuts through in the single… T: That was written just after we signed our record deal with Gravity. We’d just been to the Universal Building and it was everything kind of that we’d ever dreamed of as small town kids who wanted to be musicians. We just couldn’t believe it. F: It was amazing but we had to be honest with ourselves in the midst of the elation in that it felt like the beginning of the journey. It’s like, ‘okay, this is now my opportunity to prove myself and try and make something that’s sustainable’. I feel like we’ve done that with the album, we’ve made it on our own terms and we’re so proud of it musically. It seems like you’ve managed to make a record completely on your own terms…
@cameronjlwest
64
F: Yeah we didn’t want to put any pressure on ourselves
Divorce were born from a time when the UK guitar
even though it’s this life affirming career milestone in a
scene was quite suffocating with snarky confrontational
weird sort of way. It was kind of an organic next step for
bands, do you feel like outliers or part of a wider
us.
community?
T: It helped that quite a few of the tracks were written
F: It was fairly conscious when we started the band that
before we got a record deal. We always knew we were
we were a bit bored by that kind of angular punk stuff that
going to spend a good few years fucking slogging away
often felt like it lacked feeling.
at it before we got into a realm where people were taking notice. Signing a big record deal wasn’t part of the plan.
T: That whole scene was too cerebral and it just didn’t
I think we were old enough and aware enough not to lose
interest us. We weren’t interested in making music that
our heads. We saw it as a chance to do music full time.
felt like it didn’t allow a full range of emotion.
F: But we didn’t want to then use that opportunity to make
F: Maybe in some ways it’s held us back at times, not
something that wasn’t ours. We’re very grateful to Gravity
chasing like what is super in and super cool. I think it
for allowing us the creative freedom to create on our own
probably makes us feel a little bit better about ourselves
terms. We couldn’t have asked for a nicer bunch of people
though because we’ve managed to stay true to ourselves
to work with.They were so open to all of our ideas, this
and that’s so important.
album is all us which we’re really proud of. Is there anyone that you guys do really look up to in You guys have always seemed pretty focussed on
terms of their journey?
your own lane - is keeping the blinkers on important especially when it comes to the idea of genre?
T: It would be Do Nothing who are obviously right on our doorstep and we’ve even managed to steal one of their
F: Yeah, we wanted to find space in the things we do
members. They are honestly, like incredible songwriters,
and we’re still learning. I think we found more nuance
you can’t fake that level of emotion. They’re real
and space in the songs on this record, which is important
songs and they’re not trying to be cool so they’re a big
because we’re very excited people with a lot of ideas. All
inspiration for us. We looked up to them massively when
four of us creatively contribute to tracks in a big way.
we were starting out and we still do.
T: Our producer Catherine Marks was such a help in
You guys have had so many big moments on the
streamlining things, she kept telling us to calm down
journey so far, I guess it’s about just enjoying it with
and was really honest with us. There was still room for
an album safely in the tank?
experimentation but having that extra voice enhanced the T: It’s so easy to get lost in the chaos so it’s important to
experience massively.
look around and realise how everything is going. It’s just F: And I think ultimately you should be having fun when
about sticking to our guns now, we’ve made a crazy album
you make a record and you can hear that in the listen.
and we want to travel around the world with it. Being able
You should be experimenting as you go and making tough
to go really, really far away is a big bucket list thing for
calls, but also just like fundamentally listening back to the
us because we are just like so I don’t know. There’s no
mixes and thinking they’re amazing.
kind of financial success that could replicate the feeling of people hearing your music halfway across the world.
65
Opposite, Photography by Flower Up and Rosie Sco
In an age of hyper-visibility, untitled (halo) are a band
Jay: For me, I didn’t really listen to music much growing
that intentionally lingers out of focus, enveloped in a
up. Not until I stole my cousin’s CD collection that was
haze of intrigue. Their music feels grainy and nostalgic,
strictly made up of Madonna and Limp Bizkit CDs.
yet sharpened with an edge that cuts through the blur. An enigmatic trio drenched in shadows yet imbued with
I know you met through mutual friends, but how did
radiant, effervescent sound stands out as L.A.’s answer
you all realise that you all fit into the same creative
to the allure of 90s bands like Sneaker Pimp or Bowery
space? And at what point did this feel like it was
Electric, as well as modern acts like bar italia.
something real rather than an experiment?
Blending elements of shoegaze, slacker rock, and
J: I think we all value each other’s judgements on
experimental indie, untitled (halo) creates something that
aesthetics, whether it’s visually or audibly. There are
echoes with the past while carving out its own distinct
things that are unspoken and that are based on trust. It
identity. Cut up and pieced back together, woven from
probably all felt real when the fear settled in.
haunting soundscapes and visually striking, melancholic imagery. untitled (halo) draw inspiration from film,
A: I think it was after we made ‘el prado freestyle’. That
art, and the ghostly remnants of early 2000s internet
was the first song we ever tried and even the first take at
subcultures, casting their Southern Californian roots into a
anything we ever did as a band. That was the first thing
sprawling world that defies easy categorisation.
and it was actually a freestyle.
As they prepare to embark on their next chapter—fresh
J: Some of the best stuff we make is like within the span
off a tour with DIIV and ready to perform at Pitchfork
of an hour.
London—they hint at the release of new music, but refuse to give too much away. Beneath this veil of mystery
Jack: It started to feel real when they started hating on
lie three talented individuals, Ari Mamnoon (Bass/
Reddit.
Vocals), Jack Dione (Guitar/Vocals), and Jay Are (Drums/ Production) who share a deep creative synergy, each
You mention visuals, and I find that you are a band
contributing their own unique flair.
that has a very strong visual identity. You tend to keep yourselves a bit mysterious and out of view.
You all grew up in California; I am curious to know as to what kind of role music played for you whilst
Jack: I think that the other things are usually more
growing up?
interesting than ourselves.
Ari: Yeah, so me and Jay both grew up in LA County,
A: We are just doing what feels natural to us. We all share
and then Jack grew up in Orange County. So all Southern
similar tastes in visuals and create things together that feel
California. My older brother actually showed me Blink
authentic to us.
182 when I was in elementary school, and he was a teenager at the time. I think that’s when I kind of realised
J: To be honest, I’m just trying to recreate the feeling of
how much I liked rock music.
being elusive on Tumblr in 2010.
Words by Will Macnab, illustration by REN
68
I don’t know what it is, but personally, I definitely get
Going on tour with DIIV must have felt like a huge
this kind of Beach House, Victoria Legrand feel from
moment for you. How was that whole experience? Was
your lyrics. Who are the songwriters you actually look
there anything that surprised you about life on the
up to?
road?
A: That is so funny—Beach House was my favourite
A: Oh, the DIIV tour was incredible. Definitely the
band growing up as a teenager; they might still be. ‘Teen
highlight of our summer. The DIIV tour was the highlight
Dream’ is probably one of the most iconic albums for
of summer. I was surprised at how much we laughed and
a teenage girl growing up in Southern California. Soo-
didn’t actually hate each other. We had too much fun,
Young Park of the band ee also has created some of the
actually.
best lyrics. In one of our band’s favourite songs, ‘Retrace’, he says, “Fuck that scene if it’s up to me.”
Jack: I love Austin, Texas.
J: Organ Tapes is my favourite singer-songwriter. And
J: For me, the sense of utility being openers for a touring
then I’d have to say that Panda Bear is also a close second.
band. Everything felt so cyclical and scheduled in such a way that it became easy to get used to.
Animal Collective (Panda Bear) are great! I do love the new Jamie XX song he’s on, ‘Dafodil’. Lyrically,
Are there any places you’re especially excited to
you seem to deal a lot with struggle, regret, and
perform for the first time?
vulnerability. Do you ever feel a conflict between being open and protecting your personal lives?
A: Definitely! We have some shows with The Hellp in November in LA. We are performing at Pitchfork London
Jack: I’ve been struggling with my regret and
on November 9th along with some other EU dates. We
vulnerability.
play in Belgium on November 3rd at Botanique, Berlin November 5th at Urban Spree, and Paris on November
A: I don’t think we ever shy away from sharing about our
14th. Plus, we also have more music out very soon, and
personal lives. Some of it is real, then some of it is made
definitely have some stuff coming up that we are very
up, and that is my favourite part about writing lyrics.
excited about!
And how important is it to maintain that sense of
J: There’s new music coming soon, and different avenues
rawness within that?
to come that aren’t just a record or an EP.
J: Every lyric gets written about 1,000 times in a notebook
I have watched a couple of your live performances, and
before it makes it into the session. That rawness is nulled
I noticed that you quite often open with ‘Supersonic’.
to a pulp before it ever even hits you.
I also read that there is a Stone Roses voice memo floating about somewhere. So, if each of you were a
One band I do see you get compared to a lot is Bowery
Britpop/Madchester band, who would you be?
Electric. Could you ever see yourselves making these big, drawn-out soundscape tracks?
A: Honestly, I don’t listen to much Britpop at all, but I feel like I would have to say Oasis.
A: Yeah, actually we made a song called ‘Oblique Butterfly’, which went from a 2-minute demo to this
Jack: Is The Verve Britpop?
extended version on the EP. We locked ourselves in a garage and ended up blowing out our PA trying to translate
I think they were towards the end, but definitely still
this song live because the guitar was so loud.
Britpop! J: You guys don’t fuck with Suede?
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untitled (halo)
In true fashion for Speedy Wunderground-aligned bands,
The first thing that I noticed about ‘Real Deal’ is
London indie rock trio Honeyglaze burst into the limelight
that it’s a lot more raw and direct from the word go.
in a flash. There wasn’t a huge build-up of anticipation for
I wanted to know how early on into the process of
their debut album, rather it was out in the world not long
writing and recording you realised that it was going to
after murmurations of their name began to spread. While
be drastically different from from the debut.
it was positively received and for good reason, it wasn’t quite the album the band had been itching to release to the
A: We definitely wanted to be more ambitious with it.
masses as their statement of intent.
I think it definitely helped to do that when we changed labels and we had the prospect of not working with Dan
All the while, they were hard at work cooking up a batch
Carey. It just meant that we could record in a different
of songs that would eventually become their second LP,
way to the first album with a new studio and new
‘Real Deal’. Sonically more adventurous and not created
producer.
in quite so much of a flash, the band afforded themselves time to explore things that Dan Carey’s lightning-quick
Y: The first couple songs we wrote for this second album
process didn’t allow for.
were songs like ‘TMJ’ and ‘Real Deal’, which I would say
There’s always been a sense of rawness to Anouska
aren’t that drastically different to the debut, but once we
Sokolow’s lyricism, but it’s dialled up on this album, as
wrote ‘Don’t’ and ‘Hide’, or one of the songs that’s a bit
are the amps.
more gritty and in your face, I feel like that would have influenced our perspective on the whole album.
Catching Sokolow and bandmates Yuri Shibuichi and Tim Curtis as they meet for lunch (Yuri has a ‘smokey salmon’
Tim: I think it all comes from letting loose and not being
omelette, Noush goes ‘classic cheese’ omelette and Tim
so focused. On the first album we had that a little bit,
opts for croissant), they were kind enough to shed more
but we were always trying to minimise stuff so we didn’t
light on the process of creating their latest record which is
easily get bored of playing the first verse more than a
out now via Fat Possum.
couple times. It was all about two minute pop songs, because we didn’t have a lot of time to just jam.
There’s a lot of boxing imagery through the album artwork and the video for ‘Don’t’, so I wanted to ask
How was it working with Claudius on the record
you each what your boxing walk-on music would be.
having a lot more breathing space than you might have had with Dan Carey who likes to get an album done as
Anouska: I think I’d go on to something goofy like Barry
quickly as possible?
Manilow. It’ll throw people off and show them that I’m a Y: They’re quite different characters. I feel like with
nice guy.
Claudius everything is very considered, in terms of Yuri: Silence would be pretty cool - no music, just walking
deciding what guitar tones or what drums to use. There
straight into the ring.
was a lot more time for those parts of recording, whereas in Dan’s studio there’s a set bass amp and two guitars
A: If you lose after that then it’s really awkward.
picked for you.
Words by Reuben Cross, illustration by Mélodie Hojabr
72
A: Dan definitely has that sort of mindset “do it and let it
A: ‘Don’t’ had a really long intro - it was quite similar but
go”, whereas Claudius sits and figures out what you want
I feel like we rewrote the middle sections almost like ten
to get. That was really nice because we’d never really
times.
had the opportunity to actually make our own production decisions before.
Y: With songs like ‘Hide’, you’ve added a lot of things which we possibly couldn’t have played in the demo
I know that with the first record a lot of the lyrics were
because you’d need more people to play those parts.
written without any real intent of it being heard, and
Maybe ‘Pretty Girls’ is the most changed.
this was done with making an album in mind. How did you adapt your way of lyric writing to work better in
Yuri and Tim - I know that both of you are quite
this way?
involved with other projects as session musicians, live performers and producers. I wanted to know what you
A: I don’t think I’ve changed my songwriting technique
get from Noush’s songwriting that you don’t get with
that much, but I think for this album it was a lot more
other people that you work with.
considered. I’d leave stuff for a while and come back to it instead of writing it once and that would be it. The
T: I was actually thinking about this this morning.
album as a whole has themes and ideas that are repeated
Sometimes people ask “so does she write the songs or do
throughout. Lots of the songs on the first album were
you guys write the songs”, and I’m like “how could we
written when I was about 16, so you’re obviously gonna
write these”. They’re songwriter songs, I can’t imagine
have a very different mindset and idea of what you want to
even musically writing what we wrote together. It’s way
say to people.
bigger than all of us, and I think the songwriting is just complete.
How different was the process for this in terms of it being more of a three-person effort when generating
A: I told him to say that.
ideas? Y: I think Noush’s songwriting is at a level of committing A: I still wrote all the lyrics, but I think I was writing
to simplicity, but before your words you know how the
parts and arrangements a lot sparser than I did for the first
song flows and it’s really simple but effective. There’s
album because I knew I was writing them for the band.
a lot of songwriters who do that as well, but comparing
Yuri and Tim would add to the songs, and I had that in
songwriters that I’ve worked with recently, that’s
mind as I was writing so I think I wrote a lot less strictly.
definitely a key factor in Noush’s songwriting that I think is a superpower.
T: There were more equal parts before where you’d write the song. With ‘Female Lead’, you sent a demo to a group
I heard that ‘Don’t’ is heavily inspired by Destiny’s
chat in lockdown and then we just arranged it within a
Child’s ‘Bills Bills Bills’ - are there any other nuggets
day. It stayed exactly the same for a year until it was
of inspiration you think people might pick up on?
recorded. Now it might take more time to write it, and it’ll take even longer to mess around with all the different
A: There’s a vocal melody that I stole from The Golden
ways you can arrange it.
Dregs’ ‘Nobody Ever Got Rich’ somewhere.
As a result of that, which songs would you say underwent the most change from initial demo to final product?
73
Honeyglaze
T: There was an intro to ‘TMJ’ that I stole from Talk Talk too and then decided I need to stop just stealing stuff. I changed several parts to not have as many references unfortunately. You’ve got a lot of dates coming up - how different are things in terms of the live show compared to when you were first starting out? A: More pedals! It’s true that we’re trying to be more ambitious with our live show, it’s harder as a three-piece though because we’re constantly trying to figure out ways to not sound like a three-piece. T: There’s more tunings, more pedals, and more random tech additions. Y: It’s definitely a machine with moving parts. When you think about our first gig at The Windmill, you guys just went for the simplest setup possible. That’s what it was like a couple of years ago. I also think more people coming to our shows now compared to when we started means the pressure is even stronger now. T: If you put detail into your music, you do it because you like that and you enjoy it. I think the idea of surprising people or playing with the mood is exciting. A: That’s why we’re all gonna start wearing banana costumes on stage. Is there anywhere that you’re going to be going for the first time that you’re particularly excited about? A: We’re going to Berlin and Cologne. Y: We’re going to that tiny country - Luxembourg! A: Yeah that’s gonna be great. We’ve done the UK a lot. T: All the Germanic countries basically.
@melodiehojabr
74
Editors Sam Ford
Josh Whettingsteel
Writers
Artists
Teddy Maloney
Kalisha Quinlan
Sam Ford
Leo Lawton
Josh Whettingsteel Ed Sargent
Elvis Thirlwell Issy Wetter
Amber Lashley Poppy Richler Peter Martin
Rhys Buchanan Will Macnab
Reuben Cross
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Josh Whettingsteel Zsófia Győrfi Sam Nowell Lacortei
Zoé Maghamès Peters Laura García Sánchez Jonathan Madden Holly Thomas
Mamoru Kawakami Marco Pini
Peter Doyle
Cameron JL West Flower Up Rosie Sco REN
Mélodie Hojabr
Cover Photos
Stills from ‘Holy, Holy’ Video by Ethan & Tom
Photos for Collage Cheryl Georgette Molly Daniel Adali Schell
Jackson Bowley
Kalpesh Lathigra