PEACH PIT / THE REGRETTES / BEREN OLIVIA / PATTERN PUSHER PIP MILLETT Exclusive interview with singer-songwriterManchester-born Pip Millett. FEET Live review and coverage of FEET’s Falmouth show. A$ap rocky Photographer highlight featuring IDLES, Slowthai and more. SINEAD O’brien Sinead talks through her debut album. WALLICE Jump in and read about Wallice’s debut trip to the UK. AND MORE!
WELCOME ISSUE NO.3 WELL FOLKS, WE MADE IT TO ZINE 003. If I am totally honest I never thought this would happen, as we always mention it’s long been a dream of ours to go to print. Now, here we are three issues deep and only getting stronger with each release. It’s safe to say we’ve thrown everything we have into this zine and it’s arguably our most refined yet. We’re certainly on a streak and have found that sweet spot between chaos and order. We have also listened to your feedback from previous zines and brought Em Marcovecchio in as a sub-editor to proofread the content. We certainly believe that having her a part of this team has helped the magazine become even stronger. As always I want to extend a huge thank you to everyone who has come together to make this zine possible. And of course, a massive thank you to you, the reader, the lifeblood of our project. Long live CLUNK and long live print. kieran editor-in-chiefwebber Editor In Chief: Kieran Webber Print Editor: Felix Bartlett Print Sub-Editor: Em Marcovecchio Cover Photography: Cal McIntyre Illustrators: Rhiannon Webber (@red_moon_design) Contributors: Willow Shields, Jo Higgs, Kieran Webber, Luke James, Millie Burdett, Cluny Powell, Sam Stone Photographers: Cluny Powell, Kieran Webber, Benjamin Conibear, Lily Brown, Mackenzie Walker, Anna Koblish, Willow Shields, Cal McIntyre, Massi Giorgeschi, Riley Donahue, Claire Marie Vogel, Lissyelle Walker, Luis Kramer, Chloe Drezon, Alyx Ashton
CONT 6. PIP MILLET Exclusive chat with up and coming talent Pip Millet. 10. FEET IN FALMOUTH Gallery and coverage of FEET’s journey down South. 14. PATTERN PUSHER Pusher on mealperformingpost-covidandtescodeals. 18. 5 QUESTIONS WITH BEREN OLIVIA Quick fire question round with musician Beren Olivia. 20. WALLICE INTERVIEW We catch up and chat with Wallice on her debut UK show. 26. OPINION PIECE We look at how online music communities help in discovering new music. 32. THE REGRETTES We chat new horizons with The Regrettes in a post covid world. 36. PEACH PIT New music and a North American tour and everything in-between. 44. INDEPENDENT LABEL HIGHLIGHT Coverage on the independent label Swan Records. 14. PATTERN PUSHER 20. WALLICE 32. THE REGRETTES
ENTS 46. MURMAN Murman chat about 2022 and beyond. 50. HIGHLIGHTPHOTOGRAPHER Photography gallery showcasing Luis Kramer’s work. 60. SINEAD O’BRIEN Exclusive interview on Sinead O’Brien’s latest work. 68. LIVE SHOW REVIEW Ocean Valley with support from Will And The People review. 70. FESTIVAL COVERAGE Dot 2 Dot Festival coverage and gallery. 60. SINEAD O’BRIEN 6. PIP MILLET 36. PEACH PIT 76. ARCADE FIRE 74. HUTCH Chit chat with Brighton based band Hutch. 76. SPOTLIGHTCORNISH Emerging Cornish talent you should be checking out now! 76. ALBUM REVIEWS Clunk’s album reviews are back featuring this years hottest albums.
Millett has been on a road to triumph for the past few years, with a string of singles, such as the popular ‘Make Me Cry’, which is now sitting pretty with over 20 million Spotify streams. Pushing on with the momentum Pip has released her latest single ‘Downright’, a stunningly open track that truly boasts her eye-waveringly beautiful vocals. Following this she has also announced her headline UK tour for the Autumn and will be playing at this year’s Boardmasters Festival. At only 24 years old, Pip Millett has achieved things that artists her age can only dream of and by the looks of it there’s a lot more to come in 2022 alone. CAL MCINTYRE KIERAN WEBBER
PIP MILLET, THE MANCUNIAN SINGERsongwriter who infuses soul, jazz and hip-hop beats into her raw and brutally honest music. It’s a stunning combination that is elevated by Millett’s stunning vocals that are forever soaring. There is real power felt throughout her music whilst being a sonically mellow experience, it’s a beautiful juxtaposition.
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“I started playing bass guitar when I was 13 so I’m guessing from then really (it’s a bit of a blur). I don’t know if there was ever one moment… it often feels like it just happened. When you love something so much you just keep doing it and keep pushing yourself out of your comfort zone in the hopes that someone might like it.”
At what point did you realise you were gaining momentum and how did that feel? Its moments like performing on ‘Later With Jools Holland’ or selling out a show that it’s felt like that. I don’t think I’m always that aware of any momentum. I feel like
I’m often in my own bubble, which is maybe a good thing because it keeps me focused on actually making the music.” Were there any artists that influenced you? If so who and why? There are many artists that have influenced me. Anyone making music is surely influenced by another artist? I’ve been really
“IT CAN BE SUBJECTS”PERSONALINMANYLETTINGSCARYSOPEOPLEONSUCH
Hey Pip, thanks so much for chatting with us. How’s 2022 treating you so far? Any highlights so far? “2022 is treating me well so far. I’m really looking forward to the rest of the year, but a highlight so far has been doing my recent live shows in Europe.”
You’ve got a busy year ahead, what are you most excited about and why? “I’m most excited about releasing more music. It can be scary letting so many people in on such personal subjects’ musicwise, but there’s a definite feeling of freedom that comes with that.” How long have you been creating music and what was the moment you knew you wanted to chase it as a career/lifestyle?
lateralbumreleasenowsingleautumnnewly-announcedtour.New‘Slow’isoutandPipwillherdebutviaSonyMusicthisyear.
How do you prepare for a festival show? Is it different from playing in a venue? “I kind of just try to stay as calm as possible until I’m up on stage.” Do you have any pre-show rituals? “A shot of Wray and Nephews with my band.” Lastly, what can we expect from Pip for the rest of 2022 and beyond? “Pretty surprises.” You can catch Pip Millett Boardmastersat Festival on 14th August. She will also play Bristol SWX on 17th November as part of a
inspired by the sounds of older musicians like Bob Marley, Otis Redding etc.” Do you ever get nervous about showing such vulnerability or do you feel empowered by it? “I’m often pretty nervous about it to be honest.” So, you’ve collaborated with artists such as ‘Ghetts’, but are there any others you’d like to share a track or two with? “I’d really love to collaborate on a song with Nas or James Blake.” You’re heading out on a few festival dates this year and we’re curious what are your essentials? “Rum!”
FEATURE EATING PASTIES AND SINKING BEERS. FEET return to Cornwall in delightful style. Ahhhh Cornwall, the land of seagulls, pasties and Rick Steins overarching empire of fish and chips. It’s truly one of our nation’s most beautiful gems, and yes, I am slightly biased as a person that calls this promised land home. In recent years we’ve been working hard with BYP to cultivate and bring more live music to the local area and the opening of the iconic Cornish Bank, Falmouth has made this dream a true reality. The last time CLUNK brought down FEET they played in a variety of small bars/venues, much has changed since then for us and them. They’re an album and EP deep now and their fan base appears to keep growing and growing. There’s no surprise though, they’re a lovely bunch of chaps who are all masters of their craft. You can’t help but fall into their boyish WORDS/PICTURES: KIERAN WEBBER FEET IN FALMOUTH charms, high energy live performance, and tongue-in-cheek lyricism. As we arrived at the venue we caught them loading in and preparing for soundcheck, the most important part of a show. After a satisfying blast through the speakers they were ready for grub, as a good Cornishman I obliged and took them to the closest pasty shop (or bakery for you fancy folk). Callum (guitarist) actually admitted to me that this was his first foray into the baked delicacy, thankfully it was smiles all round as the pockets of hot meat and pastry tickled his sweet belly. However, later on that night, just before they were set to play he was struck by pasty gut and deep visceral burps made their presence known. We’ll turn that stomach to iron Afteryet.aslog of a few beers and some footie action it was time for the band to head to the stage of the Cornish Bank. By this time support acts Facepaint and Factor 50 had warmed the eager, sell-out crowd. The lights dimmed, the decorated stage glowed with readiness for FEET, the crowd cheers and reached out for the band as they arrived. This was just the beginning of the onslaught of noise, movement, and fun that was about to be unleashed. We were lucky enough to get some new songs thrown in which all went down a storm, peppered with their classics such as ‘English Weather’, ‘Peace & Quiet’, and ‘Petty Thieving’. Much has changed since the first time we saw FEET during a rainy nowperformance,Boardmastersthisisabandthatare fully confident in their sound, yet they’re still having just as much fun as when they started. It’s an incredibly infectious spectacle to watch that is sonically just as pleasing. Long live FEET long may they reign.
PATTERN PUSHER ON THEIR VISION, post-covid performing and tesco meal deals.
Exeter based trio Pattern Pusher are a sunshine soaked indie-pop band, currently taking the south west by storm. With their tracks brimming with funk and soul, and lyrics fuelled by positivity and hope, it is impossible to listen to their songs and not want to dance. I spoke to Alex Johnstone, Benny Conibear and Benny C to learn more about their dynamic style and all they have to bring to the genre.
WORDS: MILLIE BURDETT PICTURES: BENJAMIN CONIBEAR
INTERVIEW
Benny C: “Let’s go with that. Energetic. Uplifting. Crunchy.” When you first started out as a band, did you have a specific vision for the direction of the band? And if so, has that changed?
First things first, what is your go to Tesco meal deal? You will be judged for this.
Benny G: “I’d go for Sushi, Paprika Crisps and Lucozade.
Benny C: “It has changed, but at every stage I think it’s had its own goals. From year to year, we change and things happen. We went through a stage where we were quite synthy and over the top, but I think we’ve refined that over the last year or so. Most recently we’ve been embracing our soul side. And now again we’re going for another re-brand, honing in on something new.”
Benny G: “I think if we stayed the same it would get boring.” I completely agree. By exploring so many different styles, you’re opening up your target audience too. However, if you had to choose one song to represent you as a band, to somebody who is new to your music, what would that song be and why?
(after much serious discussion and debate…)
Benny G: “Good call.”
Alex: “I like that it’s usually one song that switches it all up, at each stage. I think going forward currently it’ll be more immediate indie pop.”
Alex: “I’d go for the Falafel Wrap, Blue Squares and Lucozade.”
Benny G: “Ooo now that is the question.”
Alex: “Okay guys, let’s go with ‘Tonight’.”
Benny C: “I reckon we’ll all say the same drink as it’s a trademark of who we are at this point –original Lucozade.”
Alex: “Energetic, uplifting…”
Benny G: “And crunchy.”
If you had to define Pattern Pusher in three words, what those three words be?
Benny C: “I’d say the Spicy Bean Wrap, Paprika Crisps and of course, Lucozade.”
Speaking of covid, how did you manage during that time when it came to producing and promoting your music?
Whereas if you’re in the studio, we would’ve been able to say that immediately and work something else out.”
Alex: “I think my one was at a festival called Altitude.” Benny C: “I’d agree with that actually.” Alex: “It was the first performance back after covid – we were doing this ballad called Hey Dude and literally hundreds of people had their phone lights going left to right. It was just one of those moments where we couldn’t believe we were doing it again, we were playing live. Just seeing that crowd – they were with us and we were with them – it was amazing.”
Alex: “It’s almost always been the last song we play at most of our gigs, we want to get people dancing.” Could you each describe a performance that’s been the most meaningful for you?
Alex: “The first few months were awful. We were in the process of writing an album anyway, so we were like right, let’s just try to carry on anyway.
Benny C: “As soon as you could meet in outdoor spaces again, we would meet down at the park and just try and do things that way.”
Poor Benny C would set up his drum set in his room, spend five or so hours recording drums, then me and Benny G within two seconds of hearing them would go no we don’t like them.
Benny G: “It was just very time consuming, a lot of extra effort had to be put into the process.”
Benny C: “We were really proud of that one. When you have the crowd jumping up and down, you know that you’re doing something right.”
Alex: “I was living in a middle floor flat at the time and we were doing double tracking vocals on this track and it was a really shouty one. I was doing take after take after take at 11am, then suddenly from upstairs I hear AC/ DC shouting passively aggressively back at me, absolutely caning through the floor. And yeah, I just remember sitting there thinking ‘yeah. this sucks’.”
“I WAS DOING TAKE AFTER TAKE AT 11AM, THEN SUDDENLY FROM UPSTAIRS I HEAR BACKAGGRESSIVELYSHOUTINGAC/DCPASSIVEATME.”
“I’M REALLY EXCITED MOVING FORWARD BECAUSE I FEEL THERE’S A LOT OF PATHWAYS OPENING UP, AND WE DON’T KNOW WHICH WAY WE’LL GO.”
Alex: “Festival season is going to be great this summer, especially in Devon and Cornwall. We’ve got lots of shows coming up in the next few months which we’re super excited about. And then yeah, just a lot more song-writing and probably another re-brand, change the sound a bit to keep things fresh.”
Benny G: “I’m really excited going forward because I feel there’s lots of pathways opening up, and we don’t know which way we’re going to go, and there’s something really refreshing about that.”
Benny C: “In the same way though, I think it allowed us to regroup and really take a moment to think about our sound going forward. We were doing so much demoing at this point because we didn’t really have anything else to do. But yeah, overall I think it was worthwhile for us as a band to use that time as effectively as we could.”
Alex: “You’ve just got to love the journey of it all, that’s what we’ll remember looking back.”
Benny G: “Obviously it was difficult for the shows, even now people are still hesitant to come out and buy tickets early. Yeah, it’s definitely had an effect on us, on all bands. But finally things are starting to pick up again for live shows which is so great.” It’s been a pleasure talking with you today, Pattern Pusher. My last question for you is - what does the future hold for the band?
Benny C: “We feel really confident about where we’re heading, now it’s just a case of about putting things together and getting the music out there for everybody to hear.”
One thing you want to achieve in 2022?
2. What are your tour/ studio essentials?
“I know it’s not exactly food, but I think champagne is so overrated. Does anyone actually like champagne? I feel like as soon as I say I don’t like it, everyone else starts to agree with me and yet we are all sitting there sipping it. The most underrated food for me has to be a Cashew. Peanuts always get the limelight, but I vouch for cashews any chance I get.”
PICTURE: MASSI GIORGESCHI
5.
5 questions with BEREN OLIVIA
WORDS: KIERAN WEBBER
1. If aliens kidnapped you and said show us the best thing on Earth where would you take them and “why? I’d probably invite them over for a big family dinner and I’d get my Yiayia (grandma) to cook for them. That’s the most Greek answer ever but could you imagine the scenes - the dinner conversation would be so funny. I’d have so many questions.”
“On days I’m singing, ask anyone, I drink so much peppermint tea it’s actually impressive. My headphones are also a must. It sounds intense, but I like to get into a zone whether it be creative or actually performing. Oh, and also gum. I feel like it helps me think better when I’m in a session - otherwise I just fidget and walk around.”
One overrated food and one underrated?
3. If you could organise a rap battle between two celebrities (or historical figures) who would pick to battle it out? “Rihanna and Kevin Hart. I’d love to see it. Have you seen the clip of them when Kevin is presenting the award Rihanna wins? It gets me every time.”
4.
“I’d love to play a festival! I think that’s one of my big goals for this year is to play live as much as possible with my amazing band.”
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WHEN HEADING TO WALLICE’S SPOTIFY profile, the description simply says “Jazz School Dropout” which sum up her self-depreciating, tongue-in-cheek style. Her laid back songwriting that is comically honest, yet heartwarming at the same time is delivered in a lo-fi indie package. It’s a sound that is constantly alluring and ever evolving. From her debut single ‘Punching Bag’ through to her most recent release ’90’s American Superstar’, Wallice is always boasting a fresh take, expanding and pushing where she can take her sound. With all this in mind we were desperate to chat to her about everything and anything, thankfully we managed to catch up with her!
We chat through her time in Blighty, being signed to Dirty Hit, and of course her new EP. ANNA KOBLISH WORDS: KIERAN WEBBER WALLICE ACROSS THE POND
everyone I’ve met who works with Dirty Hit and it feels very familiar. Everyone is so supportive and believe in the slow build rather than a flash success that can burn out. I really couldn’t ask for more!”
You recently just released your new EP ‘90’s beenthis,theSuperstar’,Americanwhatwasinfluencebehindandhowhasitreceived?
“I made this EP last June at my grandparents’ house in Utah with my best friend Marinelli, where we also wrote the first EP. It started with us watching the random DVDs that were in the house like Point Break, Dude Where’s My Car, 10 Things I Hate About You, etc. From that point I thought about what the story of a 90s American Superstar would be and each song kind of fell into place. I also have been a fan of concept albums and wanted that to be an inspiration for this EP! I’ve gotten great response to it so far, specifically Funeral which is my personal favourite. I was a bit worried at first because I felt like it didn’t do as well as I would have in an ideal world, but I am comparing it to people Hey Wallice, thanks so much for taking the time to chat to us, how have you been? “I’ve been really good! I just spent a month in the UK playing some shows and writing some new songs! And then been hanging in NY and now Georgia visiting my mom who just moved here! So very busy but I have this random bit of free time after a very busy month.” You recently made your debut UK voyage; how did you find it? What was your highlight? “It was amazing! I had my first headline show across seas in London and it’s been the best show I’ve ever played! I released my second EP about 10 days earlier than the show, so it was the first time that all the music I’ve been playing live has been released and it was such a surreal feeling for the crowd to be singing along to all the songs!”
You played at the Great Escape and had a big headline show at The Lexington, was that a surreal moment? “It definitely was. The Great Escape was an amazing time! I’ve never been to a festival like that where it’s spread across a city. The highlights of the bands I got to see were Charlie Hickey, Dora Jar, Indigo De Souza, and a couple more sets I can’t Irecall!really loved playing there too. The sound wasn’t the best in the venue and it was stressful not having a soundcheck, but the energy was amazing, and I had a great time playing. The Lexington was amazing too. I can’t believe it sold out and was so far from home! There were people there from Spain, Romania, and some different parts of America!” I believe at the beginning of the year you signed to ‘Dirty Hit’, how has working with them so far been? “I did! It’s been amazing. I’ve heard so many horror stories of interactions between label and artist and feeling hindered or overwhelmed but I’ve not felt that way at all! I love
When you first started making music did you ever see it taking off in the way that it has? “I’d always dreamed of this kind of success and believed in myself but at the same time it’s super easy to give into self-doubt. Also, I had been releasing music since I was 17 and nothing notable had happened for years until I restarted with punching bag in October 2020. I was 22 when I released punching bag and I’m 24 now which is easy to feel old in this industry in comparison to the many 16-19-year old’s finding success through the internet especially Tiktok. But in the comparison to many jobs I am actually young, and I think the entertainment industry needs to stop making women feel old once they pass 20!”
“I have always loved Gwen Stefani she was one of my first concerts. I constantly find myself listening to No Doubt. I also have loved Radiohead since I was 14 and I think that is a constant influence in my music.”
that have been releasing music for much longer than me and if I think about what past me would have thought I would have been ecstatic. It’s hard not to get caught up in comparison.”
Did you have any favourites from the EP? If so what track and why? “My personal favourite is ‘Funeral’! I played cello on that track and also recorded a bunch of my friends playing saxophone, flute, trumpet, trombone, flugal, and the crazy guitar solo at the end. Ever since I first wrote the song I always pictured a fun video and just a lot of energy around the song. Every time we played this song live, even before it was out, I loved seeing the crowd’s reaction and dancing along.”
Did you have any artists or people that inspired you growing up? If so how have they affected your sound?
“I THINK PEOPLE ARE JUST WANTING TO ESCAPE WHILST THE BURNS”.AROUNDWORLDUS
Are there any things that you miss when on the road?
As mentioned you’ve toured across the globe so we’re curious to as what your essentials are?
“I love bringing my point and shoot camera with me. I have a Contax T3 that my dad was getting rid of, he had it at his work and never used it. I love the pictures and memories it captures on tour. I also always need a portable charger, whether it’s for me or a band mate someone’s phone is always dying. Another essential of mine is my airpod max I got last year. The noise canceling on those works really well especially on planes when babies cry or just loud people and noises in general and if you need to sleep they can save your day! The sound is also great, and the battery lasts a long time. I sound like an ad, but I genuinely love them!”
“I missed my cat at home, my bed, and the ability to do ceramics. I also need to make sure I bring my matcha making supplies cause earlier this year on tour I brought around my matcha, a whisk, kettle, single serving oat milk and sugar, but this time I didn’t prepare so I always was on the hunt for matcha but just ended up spending a lot of money on bad matcha and chai. I also sometimes miss having a car. When I was in London or NY you walk everywhere which is super convenient but sometimes I’m so lazy and would rather just drive 5 min.” Lastly, what can we expect from you during the rest of 2022? “I am hoping to book another tour (or two) later this year. I am also working on my third EP that should be done by the end of the year and once that is finished I will be starting my first album! The thought of that is very daunting but exciting at the same time. I miss touring already and I hope to hit the road again soon!”
cartonYour@noblthirstwww.noblthirst.comfestivalwater.
Thanks To Online Music Communities, Discovering New Music Is Easier Than Ever
OPINION PIECE
AS A TEEN IN THE 2010’S, BEFORE I stumbled across a few online music forums, and subsequently caved to Spotify’s lecherous call, I was an avid music listener, but one almost wholly restricted to however many CDs I could purchase with the little money that I made cleaning stairs for a couple of hours a week. I was fortunate to be able to buy the CDs I could, but it wasn’t exactly a rapidly growing collection. Being far from the weightless clicks of most modern music listening, choosing which album would be my next purchase was a high-pressure affair. If I risked getting something I was less sure of, such as a family friend’s recommendation of My Life in the Bush of Ghosts, it ended up being money I barely even had in the first place right down the drain, and all to show for it was a strange album full of noises I couldn’t really understand. The influential David Byrne and Brian Eno collaboration is no doubt a great album, but for someone who had grown up with The Beatles, The Clash and Green Day, there didn’t seem to be much common musical vocabulary, and thus, I went near exclusively for bands I knew to be similar: The Who, Sex Pistols, Blink-182. Decent bands? Yeah, sure. Inspiring or adventurous like My Life? Obviously not. But why, with limited scope to buy new music, would I be tempted by anything but what seemed safe? Neither a sonically similar-ish band that I’d never heard of, like Life Without Buildings, or a name I’d heard bandied about like Fela Kuti, but whose style of music I was unfamiliar with, sounded like I’d be in with enough chance of loving it to make it worth that inevitable £7.99. How then could I branch far beyond my limited musical interests, without breaking the bank on a lottery draw that could’ve just as easily gotten me Aphex Twin (who I love) as Joanna Newsome (who I still just don’t quite get (I’m sorry!))?
WORDS: JO HIGGS
For the most part, my friends had a similar taste to me, so recommendations were in the same vein of low risk, high reward, that I was already too stubborn to escape. Radio would’ve been brilliant if I could’ve had the patience to withstand (what I perceived as) awkward rambling between songs. It took me until years later to find the wonderment and solace I now do in music publications, at first, I simply skimmed the reviews and features on artists whose music I was already acquainted with. YouTube? It’d never occurred to me that one might listen to music on it (and despite the websites incessant pleas to pay it a subscription fee, I don’t think it’s really occurred to anyone, even to this day with a gradually againstimpassionedmorerailingSpotify,Daniel Ek and Joe Rogan). I don’t rememberparticularlywhyI off-cuffedly joined a few music discussion groups on Facebook. They seemed innocuous clicks, inconsequentiala passive sort of ‘what’s this all about?’. Like the majority of people involved in such groups, my listening habits
Patrician Music Chartposting Side B, were as kind, generous with their time and as insightful as one could hope. Many folks were eager to point out that the principles behind these groups are no different from those that music lovers have been abiding by for decades: ask for recommendations, get recommendations. The difference, as far as music forums go, is the sheer masses of people involved and the wonderfully varied backgrounds they come from. In this specific groups case, the growth of each avoidanceislistener’smusicexperiencepredicatedontheofgenrebased cliques for the most part, and the expansive wealth of music we have at our were revolutionised. Troughs of recommendationsandpersonalisedinsightful from the kindest of utter strangers came in thicker and faster than even an 80hr week of stair-cleaning could’ve maintained, let alone the 2hrs I was doing. In spite of all the immorality behind Spotify, it was rapidly necessary as a vehicle to keep up. Upon conceiving of this article, I asked a number of members of one online community that I’ve been in for some time (or at least a post-zucced iteration of it), their thoughts on the diversification of musical taste as partially navigated by increased online sociality in subcommunities. The individuals from the semi-ironically named,
ILLUSTRATION: GRACE KIM
AUDIN RUSHOW
“
fingertips thanks (through gritted teeth) to Spotify and Apple, (through less gritted teeth) to Tidal, and (through the most loving of lips with saccharine smiles) to Bandcamp, among Forothers.myself, platforms such as these and newforaren’trecommendationstheironlyimportantprovidingonewithfavouritealbums, but for filling in the gaps. Backed up by the experiences of PMCSB, the experience of having someone (from the other side of the globe, or maybe just the other side of the street) go to the effort of making a list or a flowchart for you is heart-warming. These sort of ‘how to get into [artist name]’ flowcharts are tactfully worked out with specific references to whichever angle you might wish to become acquainted with an artist you’ve struggled with before. For example, a Björk one I’ve seen floating about the internet says to start with Post and then advises which album to try next depending on your appreciation of the instrumentation. The ‘if you like this, try this’ continues across her discography, distilling what for me is the essence of groups like PMCSB. In spite of folk recognising small amounts of elitism that gets hastily snuffed out (apart from, as one person half-jokes, that there is elitism against people who just don’t really try to get into new music), no one tries to drop you into some random murky depth of plunderphonics if you’ve told them you’re predominantly a fan of alt-folk - though they might provide an artist that strikes some nearinconceivable middle It’sground.about the wealth of knowledge shared amongst an endlessly wide community. Different experiences,life different continents, different tastes but with the same burning passion for music, new and old. Discogs, Topsters, Rate Your Music, all in a sense provide the same, or similar functions. But for all the many flaws of Facebook (in this case) and reddit, etc., there’s always the sense that the human recommending you Elliott Smith is ILLUSTRATION:
DIFFERENT”BOTHABOUTWITHCOMMUNICATIONSONEANOTHERMUSICARESOSIMILARAND
ILLUSTRATION: @red_moon_design
favouritewholocal,pintsduringyou,streetspeopleyournowadays,uponwefromrecommendationsourfriendsashavefordecadesdecades,butperhapsfriendsaren’twholivetwoawayfromsatnexttoyoumathsordowninparallelatthebutsomeoneputyouontoyourbandofall
musiconeCommunicationsanother.withanotheraboutarebothso similar and different from how they were in the pre-internet world. Aside from greater scope to interact with folk from cultures you never could’ve before, the primary change, as one person from PMCSB points out is that the definition of friend has evolved. We’re getting
Inmusictooofexploringmutuallytheworldmusicexpands,sodoesthevarietyofyoutouchupon.onesmallgroup can be the kernel of a soon to be rapidly expanding universe. One issue raised was that regardless of online internationality, certain trends pervade such as anglocentrism. There is certainly further expansion necessary in the listening trends of music fanatics: I, for one, am not pulling my weight. As briefly mentioned before, increasingly genre-based cliques appear to be fading, perhaps in light of increased anonymityonlineand invisibility. In the 70s, punks were unmistakablevisuallylikemany other styles that relate to music or otherwise. In the online sphere one needn’t flag themselves as a fan of one sect or another (partially due to this reduction of sects), they can simply have a nondescript profile picture that identifies them either one way or another and proceed to appreciate music from all avenues. One individual points out that in spite of decliquing there can still arise a certain elitism about how much music one listens to, or even how they do it. Though for the most part, people attempt to not get too uppity over one
time, just like you did for them, and that was enough to build a long-term friendship grounded in talking online about music. As music plays its role in the formation of friendships, those friendships further blossom
someone that at one point themselves was recommended Elliott Smith. Online recommenders might remain anonymous, or they might become your best friend - it happens a Aslot.the group of individuals with whom you are
momentofcommunities.bondstolistening,expansivemoremusicandcontinuestrengthentheoftheseonlineInspitetheoccasionaloftoxicity and unkindness to be stomped out quickly, groups such as Patrician Music Chartposting Side B and many others provide such an element of community whilst propelling a new generation to increasingly varied and musicopen-mindedlistening.
Tickets purchased on the door will be £25. Subject to availability.
SPOTLIGHT PICTURE: RILEY DONAHUE WORDS: KIERAN WEBBER
‘Further Joy’ tackles complex issues such as anxiety, particularly Lydia’s experiences,personalhow did you transform this into music? “In talking about our mental health with each other, we got to some pretty vulnerable places and got to know more of the inner workings of our psyche. Whether it was a song that Lydia had written or that we all wrote together, we were coming from a place of closeness and understanding, so we were able to create something really honest and meaningful from that place. We became very in tune with each other.” I really love this sentence from Lydia: “We all happinessdeserveandto be present, and we’ll never get there if we feel so much shame and guilt for not being there already. Don’t get caught constantly chasing joy.” Why do you feel we all get caught in this cycle and how can we break free?
“These past two years we’ve gone through so much transformation. The silver lining to all the insanity that’s been going on in the world is that we were able to use the time to look inwards and grow a lot as people. And since we’ve been back together, we’ve been so refreshed and so excited to release our album and tour!” Did the recent events give you time to reflect and how did this filter into your new album ‘Further Joy’? “Usually we’re used to a more fast-paced touring lifestyle, so as shitty as the pandemic was, it gave us the unique experience of being stuck at home with no distractions. We were forced to examine ourselves and figure out who we were as people when our identities weren’t tied to external things. I think we all faced a lot of demons and learned a lot about ourselves along the way, and it was honestly really cool to talk about all these things with each other. So, it just kind of naturally led to songs that dive into different aspects of mental health, life, etc.” Was the recording process different for ‘Further Joy’? Can you talk us through the experience of this album? “This is the first record that all four of us got to write on & record together! That was so fun, and we ended up with a really cool blend of all our styles. In January of 2021, the four of us rented a house in Joshua Tree, where we wrote and recorded 10 demos. Then we brought those to the studio, along with other songs Lydia had written. We worked with Jacknife Lee for half the songs, and Tim Pagnotta for the other half. It was so cool working with two different producers, because each one brought such unique ideas to the table and helped pull unexpected ideas out of us as well. All of this came together to form our own little magical world for this record and we love it.”
Now, the world is opening up again, there feels like there is some light at the end of the tunnel. Are you ready for 2022 and what energy are you bringing into the year?
‘
“I think our society is constantly shoving self-hatred and insecurities down our throats, so much so that we can start to believe it and even treat ourselves that way. But having reminders that it’s okay to let yourself be happy - right here right nowcan really help. That’s where good friends come in, and doing intentional self-care like getting outdoors, making art, going to a museum, reading a good book. It’s okay to have fun and let yourself feel good!”
PICTURE: CLAIRE MARIE VOGEL
What can audiences expect from your live show in 2022? “New songs of course, and just a lot of fun! I hope you’re ready to dance your asses off with us!” “HAVING REMINDERS THAT IT’S OKAY TO LET YOURSELF BE HAPPY - RIGHT HERE RIGHT NOW - CAN REALLY HELP.”
Do you have any particular tracks from the album that you prefer, if so, which ones and why? “‘You’re So Fucking Pretty’ is a really powerful one, both in subject matter and sonically. I tear up almost every time we play it. Also, because we started writing it in a completely different style, then it did this crazy 180 when we changed it to a piano ballad. It was so awesome seeing it come alive like that.
That’s What Makes Me Love You’’ is also such a fun new vibe, and it’s sooo fun to play live. I’m really proud of what we did on that one. And of course, ‘Rosy’, cause it’s just so fucking fun.”
“
“Extra cables, and like 1,000 picks. Throat coat tea, yoga mat, headphones, a book & notebook, crocheting supplies, and my stuffed animal sloth.”
“Honestly, helping each other pee in the snow when we have to pull off the side of the road is one of my favourite things ever. Also, the tantric woddles. (iykyk).”
Honestly just rehearsing as much as possible so we’re feeling prepared and confident. Then just making sure we’re well rested, hydrated, and feeling good. That makes it so that the day of the show, we can just relax and have fun and enjoy every minute of it.” What are your tour essentials?
You have a huge year of shows ahead of you, such as the infamous Coachella! How do you mentally prepare for such a show?
Lastly, do you have any funny stories from your time on the road?
PICTURE: LISSYELLE LARICCHIA
THE ROAD AHEAD WORDS: SAM STONE AS THEY EMBARK ON THEIR North American tour, I sat down for a zoom call with Peach Pit’s singer/ guitarist Neil Smith. The indie-pop four-piece are buzzing to finally get a chance to play songs off not one, but two new albums. Their second album ‘You and Your Friends’, was released in April 2020, days before the pandemic cancelled all their upcoming shows. Now, after the release of ‘From 2 to 3’ in March of this year, they have even more new songs to try and cram into a set list. PICTURES: MACKENZIE WALKER
“The four of us became friends when we were like 20 years old. I was living with my parents in Vancouver, and I kept running into Chris, our guitar player, like at the dock at night smoking weed or we’d be at the skate park or something. Eventually, we were like “We keep running into each other, we should just start hanging out, we seem like we like to do the same things”.
A few months after that, we went to a music festival in Vancouver together and that night started playing some playing guitars. We were like, “This is so sick, man. We should make a band!” and then we got a bit of wecameday.embarrassmenthangoverthenextAnyway,thenwehomeanddecidedhadtotryanddoit, so that’s kind of how the band started.” What was making ‘From 2 to 3’ was like compared to working on your first two albums? “I think because it’s our third album, a lot of the anxieties about releasing music or the unnecessary pressure that people can put on themselves got lifted a little bit. We put out our first album and your first one, you don’t even really know what you’re doing, you just have have enough songs to make an album. Then our second one was our first time releasing a record with Columbia. We’d never been on a big record label before so we kind of felt like “Oh, shit, this better be good or no one’s ever going to listen to us ever again”. Then this time around, we realised that nothing really matters other than just making music that we like to make and trying to have fun while we’re doing it. That’s the most important part about making music for us. This record was cool, it was very freeing, I think we felt like we could do whatever we wanted. We could make the kind of songs that we want wanted to make at the time. We took the pressure off ourselves and felt like, “Hey, if this one doesn’t work out, we can always make another album after this.”” I was going to ask if the positive response to your second album, ‘You and Your Friends’, meant there was any pressure to go in a soundsthirddirectionparticularwiththealbum,butitlikethewhole
He double checks that the interview will be in print so that his freshout-the shower wet hair won’t be a problem and empathises as I apologise for cancelling our initial interview because I had the flu.
Neil is instantly likeable. He’s down to earth and super nice, living up to every cartoonish stereotype of polite and friendly Canadians.
After this
far?journeyandHowtour.lotsimportancetheirVancouver‘Frominspirationsonreassurance,mutualwegottodiscussingthebehind2to3’,howhasshapedsound,andtheofpackingofsocksforalongdidPeachPitformwhathastheband’shasbeenlikeso
process has been very freeing.
“Yeah, definitely. I don’t think there was any pressure to do really anything. Our record label is super cool. They’re very supportive and just let us do whatever we think is best as far as making music and music videos and stuff, which is awesome. Outside of that, I think one of our goals is to try to make albums that don’t sound necessarily the same as the one before it. That can be hard because, we’re still the same four musicians, working on albums together so you’re naturally going to fall into the same kind of themes. We want each record to move in a different direction, mostly because it keeps it fresh for us too.”
Could you tell me more about making ‘Being So Normal’ and ‘You and Your Friends?’ “With our first album, ‘Being So Normal’, our friend recorded it for us, and he gave us a really good deal. We didn’t spend very much money making that record. That was super lo-fi. At the time, Mac DeMarco was like the God of all rock Gods to us, and he was making music that was pretty lo-fi. On ‘You and Your Friends’, we got to work with John Congleton who produced the record. It was the first time working with a producer who had a bunch of credits to their name and was a producerwell-respectedinthemusic industry. That was a totally stampdefinitelyexperience,differentJohnputhisonit.Thistime around, we really knew what we were doing so we trusted our instincts a lot more and weren’t afraid to stand up for what we wanted things to be like. I think we finally made a record where we felt like we controlled the whole thing all the way through.” How has your writing and recording process changed over the years? “This time around we wrote a lot of the stuff in studio. Going in, I might have written the lyrics but past that, we hadn’t put too much thought into how to we were were going to arrange things or what kind of instrumentation we wanted.
relationship?youLyons-Hookham,Lestercantellmeaboutthat “Lester is awesome. He’s been with us since we first started the band. He was born and raised in London then moved over to Vancouver. I met Lester when I was 20 or 21, working at an outdoor store, stocking supplies at night. He was the only other young dude around my age. He was a skater and liked cool music so right away we became super close buddies. We would save up our breaks so we could have an hour and a half go and skateboard around the parking lot. I told him I
“I IT WAS GOOD FOR DEVELOPMENTOUR AS A BAND, BECAUSE IT’S HARD TO SOUND GOOD IN THOSE SHITTY PLACES” I think a lot of songwriters are like this, but you can be very, precious about your writing. When you write something and then somebody critiques it, sometimes it’s not the easiest thing to take. But over the years, I’ve become more trusting in Chris, Pete, and Mikey, and because of that we become more collaborative. I think it’s just made our music a lot better, because I’m not such a whiny little baby.” What was some of the music that inspired ‘From 2 to 3’?
THINK
“The one record that I’ve been mentioning a lot is Paul McCartney’s, first solo record after the Beatles called Ram. It’s a record that he recorded and wrote with his wife, Linda. I’ve always been a Beatles fan, but it wasn’t until maybe four years ago that we were all chilling and Mikey put on RAM while we were hanging out one night and I’d never heard the record before. I was like, “What is this? This is really cool”. I got like, obsessed with that album and then the other guys kind of followed suit and got really into that record. It spawned this resurgence of interest in classic bands for us. We got really into the Beatles, Neil Young, Tom Petty, The Traveling Wilburys, and lots of Paul McCartney.” If you were to recommend one song from that record, what would you want people to listen to?
“That’s so hard, there’s so many good songs on it. The first song, ‘Too Many People’, is really dope and ‘Monkberry Moon Delight’ is a cool song. It has everything on it, blues
songs, rock songs, pop songs, ballads… ‘Heart Of The Country’ might be my favourite song on the record. It’s really good.” Your music videos are all directed by
was in a band, and we needed someone to shoot a music video for us. He was like, “Oh, I went to art school, and I made movies in school. I’d be down to help you guys do that”. Then so we made a music video together and he killed it. Now, eight years later, he’s full-time music video director. We’ve made every single video with him. To me, he’s like, the fifth member of our band, for sure. He’s worked with us on every project and helps us with all the visuals… outfits, videos, record designs and everything. I trust him more than anybody in the world honestly, like he’s got the best instincts and is one of the most talented people I’ve ever met easily. It’s awesome.”
How has experienceyourofthe DIY scene in band?influencedVancouveryouasa “Vancouver has a cool DIY music scene. When we were first starting out, we would hear about these shows happening basementswarehousesdingyorinofhouses.
There was one called ‘Trash City Productions’ that was run by a girl named Maddie. She was probably like, 16, when went to see a couple of Trash City shows and I remember being like, “oh, man, I want to play a show”. The height of cool to me was to play a Trash City show. I emailed her, and she was like, “Yeah, I’d love to book you guys for a show”. We totally started out playing in all those kinds of rooms. I think it was good for our development as a band, because it’s hard to sound good in those shitty places with bad PA systems and just packed full of kid. Also, there’s a lot of inspiring bands in that scene who put on really great shows. It was cool to come up in that scene and learn how to play music from all those other bands. I know it makes playing shows in nicer venues way easier because it sounds really good and it’s really easy to hear yourself.”
What are some of the most exciting acts you coming out of Vancouver right now?
“Haley Blais has been opening for us on the whole North America tour. She’s awesome, a fantastic songwriter and a really great performer. We’re also good friends with a band called Babe Corner that’s fronted by Chris’s fiancé Lindsay. They’ve been putting out some really great tunes recently and they’ve just finished recording a record. Also, I friendsbecameoverthe past couple years with a band called Bratboy that’s more punk, hardcore almost, but they got some pop sensibilities too. They’re really rad. I’ve never really listened to any harder music before except for maybe ACDC when I was in high school or something. They’ve got great videos and they put on a sick live show. I got to stop myself because there’s literally so many great bands in Vancouver.”
“Yeah, we’ve definitely figured out lots of stuff over the years. This North America tour is going to be really fun and easy for us because it’s the first time we get to be in a tour bus. It’s very relaxing because after the show, you get into the bus, you hang out with all the and then you get to sleep through the night and wake up in the next city. The travelling is cut down hugely, so it’s already been awesome. But when we’re in the over in Europe, we’ll be back in a van. You’ve got to pack lots of socks and lots of underwear. That’s number one. You got to have fresh socks and underwear all the time. It helps you feel good. We try to have lots of good snacks in the van too. Especially in In Europe, stopping at the truck stops, on the side of the road is so much nicer than in North America. You can get like some prosciutto, some brie, like a nice piece of bread and make yourself a sandwich for super cheap. We love touring though. It’s tiring but it’s just very fun. We get burnt out, I guess sometimes, but we’re on the road touring around the world. It’s a total dream come true, we feel very lucky.” Are there any shows in particular that you’re forwardlookingtoon this tour? “We’re going to Florida later this year, although that’s not on this tour. We’re playing Kentish Town Forum in London. From what I gathered; it seems like a big venue so that’s going to be cool. We’re playing lots of great venues on the road but in our hometown, there’s a place called the Commodore Ballroom, and it’s been around for almost 100 years. It’s a really, really cool venue. I have a picture on my wall at home of my great grandma and my great grandpa at the Commodore ballroom back when it was like a full-on dancing ballroom, drinking with their friends and stuff. We’ve never gotten to play it before and it’s probably our number one bucket list venue. When I was 17, I made a fake ID so that I
You mentioned that you’ve just started this big tour, how do you stay sane when you’re touring for so long? Have you picked up any tips over the years?
I know you didn’t get a chance to tour your last record because of the pandemic. What’s it been like playing shows again?
“These past few shows are the first shows that we’ve played in like two years. We put out ‘You and Your Friends’, like the day the pandemic happened so we never got to play those songs.
This tour, we’ve been trying to play lots of songs off that record, because we never got to tour it before. You put out music, and you don’t get that feedback from the crowd of like, ‘Oh, these people liked the song or like, the vibes are good, people know the lyrics’.
could go see a show at the Commodore and when I got in, I was so excited. Once we play then there, I will have done everything I ever need to do.”
It’s been really cool to play those tunes that we’ve stopped thinking about and it’s kind of brought them new life because people are all singing along to the lyrics and shit. Later on in the year when we tour again, we’ll play more of the stuff of our new album, once people are a bit more familiar with it.”
“WE’VE NEVER GOTTEN TO PLAY IT BEFORE AND IT’S [COMMODORE BALLROOM] PROBABLY OUR NUMBER ONE BUCKET LIST VENUE.”
As well as proud parents they also make sure that they are good friends with the bands on their label with FIFA tournaments and Whatsapp group chats among the activities that create a community rather than the traditional artist and label divide. If you take a look at their roster now it reads as a veritable who’s who of Clunk favourites. You have Saloon Dion rubbing shoulders with English Teacher, Opus Kink sharing space with FEET. With this impressive stable you also notice that unlike some labels that seem to aim for
Having grown tired of the major label scene and the frustration of not being able to sign the artists he liked, he got together with friend Pete Heywoode who had already started his own label and Nice Swan records was born. Starting their journey with Dead Pretties (who in turn had Jacob Slater amongst their ranks who can now be seeing playing Paul Cook in the Sex Pistols biopic Pistol), Nice Swan are now creating an army of future heavy hitters. If you want credentials, then look no further than two of their biggest signings.
When you read about Nice Swan, founders Alex and Pete talk about these bands almost like proud parents and it’s this kind of support and love that is at he very core of any good independent label.
nice swan RECORDS
a certain sound, Nice Swan are just music fans that are happy to sign music they love from post punk to art rock to the electronic indie of Malady. Attending gigs themselves as fans, you know that each band on Nice Swan has the stamp of approval of a band that has to be seen live. With albums on the way from FUR and Pip Bloms and EP’s from Sprints, English Teacher and Jaws The Shark, there’s plenty to be excited about in the future for the label and as festivals get back to their normal schedule, don’t be surprised to see Nice Swan artists peppered across the line ups of several of them. The more you read about Nice Swan records, the more you grow to love them. They are the very epitome of what an independent label should be. A label run by music fans, for music fans and not run by suits who see artists as money but rather friends that see bands as friends that they want to help achieve greatness. With their impressive roster of bands expanding, Nice Swan are definitely a force to be reckoned with. Reading Festival as well as countless amounts of big-time radio support.
Having spent four years working as an A&R talent scout for a major label, Alex Edwards found that his contract was not being renewed. Rather than let it get him down, he used this opportunity to pursue a passion of his.
The first, Pip Blom who can count support slots with The Breeders and A-listed radio play on BBC Radio 6 amongst their claims. Secondly is the powerhouse that is Sports Team, a band that has graced the main stage at
WORDS: LUKE JAMES INDEPENDENT LABEL HIGHLIGHT
CHIT-CHAT WORDS:
MURMAN HAVE BEEN BUILDING momentum for the past few years, but it’s safe to say that 2022 is going shaping up to be their breakout year. They’ve been playing extensively across the country and releasing a string of high-octane singles, including their most recent ‘Falling Down’. They’re a band with tenacious energy and a real passion for what they do, it is for this reason we were eager to sit down and find out more about the minds behind Murman. We chat with them about their plans for 2022, energetic live shows, and more! KIERAN WEBBER PICTURES: WILLOW SHIELDS
David: “‘Falling down’ references various intimate moments and people in my life and a personal loss, and love, topped off with a big old dollop of self-deprecation, can you tell I’m the singer?”
Did you do anything differently when recording this one?
Dom: “I feel like we got some space to experiment
When you get together to record and write what does that process look like? Abbi: “David usually comes to rehearsals with a song concept he’s thought of in the bath, say a first verse or a chorus, then we start piecing together a structure and where we may want the song to go from there.
But Dom’s a bit of a tech wizard, so more recently ideas we’re developing by starting with samples and a computer. It’s very different but opens a lot of doors to other sounds and concepts we can play with.” with a heavy-hitting drum sound and a sing-along chorus.”
Hey Murman! Thanks so much for joining us, how are you?
David: “Very very well thank you, it’s been a busy few months.”
Felix: “Yes, this year has started really well and we have a lot of great plans coming up. We also had a lot of good feedback from our France tour so hoping to head back before the end of 2022!” Now, you’ve had a string of single releases in 2022, including your most recent one ‘Falling Down’, what’s the influence behind this track?
Abbi: “I’ll let David go into the deep and meaningful details, but musically it’s the likes of Blondie, Bruce Springsteen, anything with new ideas both in the studio and after. You’ll definitely notice it in these new tracks.”
David: “We recorded with Josh Hayward from The Horrors, the man is a genius. He really got out sound from the get-go, and it was the best/funniest recording experience I think any of us have had.”
How has 2022 been treating you all so far? Abbi: “I think we can safely say much better than the previous few years! Lots of gigs, recording, and even a mini-tour across the channel, plus Felix got promoted at work so he’s feeling pretty happy about that.”
David: “I usually have Abbi reminding (scolding) me to warm my voice up, I have a shot of whisky and Covonia cough medicine and spend about 3 minutes doing my makeup which basically resembles a 70s sex doll!”
David: “REALLY, REALLY FUCKING GREAT!” Abbi: “Again, can you tell he’s the singer? Ha, but no, we’d hope that’s what people come away from the gigs thinking! And at the very least people can tell we’re very energetic and driven performers. We want people to have fun watching - and being a part of - our shows.”
How do you transfer your recorded material to a live setting?
David: “I met a guy once called Malcolm Tucker who allegedly inspired the BBC character in The Thick Of It, who told me he was in a band called Elvis and the Cheeseburgers in the 1980s, they had a live review in NME which said “Elvis and the Cheeseburgers should be buried in cement before being allowed to play live again”. I would love NME to do a similar review of us! I would also love us to do a UK tour and have one of our songs featured in Hollyoaks. Expect bigger bangers, wild shows, and a big fat record deal, I AM READY TO SELL MY SOUL TO THE HIGHEST OR LOWEST BIDDER.”
Abbi: “We once supported a guy called BA Johnston at The Finsbury in London, and the majority of the gig ended up taking place in the men’s toilets. Would thoroughly recommend giving him a listen.”
When playing live do you have any pre-show rituals?
David: “We actually start with the live element and try to capture that on the recordings, it’s only since this latest single we are really starting to capture the energy of our live set through the recording, which we’re really happy with. We’re not big on going straight in with demos and instead just really try to focus on nailing the live sound first.” We’ve experienced your shows in person and they’re absolutely amazing, but if you can, describe them to our readers in four words?
Dom: “Tequila shot and a beer, always” Abbi: “Usually spending 10 minutes prior to going on stage trying to find the rest of the band, 99% of the time locating David in the bathroom putting on eyeliner.” You have toured fairly extensively and I imagine you’ve got some brilliant stories, could you regale one to us now?
Dom: “While playing in France the mosh pit pushed a girl and she ended up face down on my pedal board. We continued the song while searching and successfully retrieving her purse and her phone.” Lastly, what can we expect from Murman in 2022 and beyond?
PHOTOGRAPHER SPOTLIGHT LUIS KRAMER LUIS KRAMER is a 28 year old freelance photographer, illustrator & creative. Born in North London and growing up in Hertfordshire, he’s been exposed to both the city and country with suburbia in between. Giving him the ability to home in his skills in a variety of cultural landscape. Instagram: @kramerdoingbits PICTURE: LUIS KRAMER
SINEAD O’BRIEN HAS BEEN TURNING heads for the best part of a year, fusing poetry with music in a way that is equal parts entertaining and poignent. Moulding influence from artists such as The Fall and poet John Cooper Clarke, whom she has collaborated with. 2022 has already seen her play a variety of shows, including the pilgrimage to the states with her iconic SXSW show. It was here that she first flew into our radars, pricking our ears and tickling our brains.
Sinead has also recently released her debut album ‘Time Bend And Break The Bower’, which is filled to the brim with her stunning lyricism. It was clear to see that Sinead is an artist in the purest form who is constantly and meticulously planning out her next creative output. Our conversation with her was just further evidence of this and one we will not be forgetting anytime soon.
WORDS: KIERAN WEBBER PICTURES: CHLOE LE DREZEN
SINEAD O’BRIEN SPOTLIGHT
“Yeah, you can’t be that particular about every show you play of course as there are things like capacity etc. to consider. However, headline shows in London and Ireland there’s much more of a chance to choose. Basically, my manager, she gives me a selection and I can choose. There will normally be a to and fro, for example there were a couple of possible venues for Ireland, but I was insistent it had to be Dolands. I had a clear preference to play there as that’s where I grew up and I used to listen to all the live bands there when I was way too young. It’s very fun to work with my agent Sophie she’s “THE LACK OF VEGEATBLES THERE [SXSW] WAS REALLY SHOCKING. WE HAD THIS REAL SEARCH FOR GREENS.”
Hey Sinead, thanks so much for joining us! How have you been?
“Do you know what I am excited about the variety. Some places I haven’t been to before and others we’ve picked up on the way. Whenever I am in Europe I always relay back to my manager if I’ve played a good venue or I have heard good things about it. I work very closely with my management to plan the routes out and we spent a while on this one. When I play somewhere I like to get an authentic taste for the city, I am not a fan of just playing then leaving. I want to see the place and feel a bit of what it’s about, chat to the locals, eat a meal there that’s representative of the city and not just the rider. I do really like going to Paris, I love going to Paris so much actually. Every time I play there it’s very enjoyable. Berlin as well is another amazing city and of course we can’t forget the Limerick home show, that’s going to be very special. I can’t wait.” That’s pretty rare for an artist to work so closely with about?prettysomethingtopickingmanagementtheirwhentheplacesplay,isthatyou’reconscious
“Yeah, really good thank you. I was actually writing this morning but it’s getting really busy at the moment. I am just trying to find some time in the morning to keep writing, but it’s been great. I have been getting ready for the in-store tour to celebrate the album release.” So, it’s safe to say you have a busy 2022 planned? “(laughs) Yeah, it only gets busier as we head into September and October as we head on tour. Just as festival season comes to an end we’re pretty much heading straight out.” Is there anywhere in particular you’re excited to head to?
great and really gets it. She is always trying to think outside the box as well and not just trying to go down the classic route of playing your standard venues. She considered the more grass roots venues and interesting spaces to play. Of course, it still has to have a PA and be Fordoable.example, for the London show we had our eye on Lafayette for quite a while actually as I did a pre-recorded thing there one time during lockdown. We all thought okay, this is going to be a great place to play. It’s a space that I know I can curate a show in, even though I don’t frequent there. It has the potential to feel like a different world and it’s great to get things like that locked in.” It must be freeing as an artist to work with your management in this capacity? I guess it allows for you to create not just your sound but the overall vibe and feel of a show! “Yeah exactly! It does give me extra work as I like to be involved in so many of the aspects, but I really enjoy it. If you’re not in control of it at this stage, then you have no hope of keeping it in your vision.” So, speaking of live shows this year you were at SXSW which I imagine was an experience. Can you talk us through that? Any high or lows? What did you take away from playing in America? “I guess the lows was the lack of vegetables there, it was really shocking (laughs). At one point we had this real search for greens, we did find this auditorium which was serving salads, it was like being in the garden of Eden (laughs). I was super recharged once I got that salad. The high has to be living in that moment in space that only festivals provide you know? It’s so not normal and it’s so not how you live in your daily life. Your new reality becomes okay, I am seeing live music all day and if I remember I need to eat at some point. So, to be on both sides of that as in playing as well, and playing multiple times, and multiple venues.
It comes with its challenges too, such as getting used to the new space or dealing with weird sound systems or change set ups. It’s the weird particularities about these places, particularly SXSW though that make it so fun and interesting. It is chaos in the best sense. The highlight has to be playing the British Music Embassy, it was one of the funnest gigs ever. I got a phone call from one of my friends who was like we can’t get in, there’s a queue around the block, I just remember thinking to myself no this can’t be right! All my senses came alive after that phone call and I had this massive burst of energy. I like that lastminute adrenaline, I don’t tend to get nervous. That energy puts you in more of a spontaneous state of mind. It allows for you to go above and beyond what you can deliver, it makes it much more fun. I have a tendency before a show to let that get to me.” I guess each show is unique then which allows for attendees to discuss the shows together and pick it apart? “Yeah! You have to really pick the vibe up really. Like for example I played a library once and that was the first time I had to really think about where I was and who I was playing too. The more people who engage and react really changes it for me. I have had lighting set ups before that has stopped me from seeing the crowd, it was such a block. It was really isolating actually, I really enjoy seeing the crowd. That connection is vital.” You started as a poet, so I am curious to as how you brought music into the mix and how did you make it work so well? “So, the very first time I performed there were people doing poetry and there music too, as well as people dancing. It was a very varied night. Even then I brought a friend on stage who was a musician and explained I needed music for this. I gave him descriptive adjectives and he improvised around that. I am homes,readingscirclesinterestednotinpoetryordoinginStanleythat’snot me at all. The music was not never there. I did perform with John Cooper Clarke without music and a woman came up to me afterwards and said she could hear music in the poem. This blew my mind as it meant I was on the right path and the format was working. I don’t have any doubt with what I want to do when it comes to music. I do see them as different things. I wouldn’t hand in lyrics to a song to poetry magazine as an example. It’s crafted in a slightly different way, but the content can be the same. So, music has always been a part of it, even when I first started writing poetry I would listen to music. it would mostly be instrumental or music that was mostly without lyrics.
I don’t do it so much now as I have become very disciplined and more experienced. However, If I am in a cafe and I am writing I will still pop headphones in and write, I like to write to that rhythm.” Do you have any artists that you would like to collab with? “I do yeah, I have a massive list. However, I won’t be disclosing any with you (laughs). Basically, I do have a list who I would love to work with and some of these we’re talking too already. I could defiantly see myself working with an electronic artist in the future.” Your debut album ‘Time Bend And Break The Bower’ is now out! Could you chat through the creative process and emotion behind the release? “THE MORE PEOPLE WHO ENGAGE AND REACT CHANGESREALLYITFOR ME. I REALLY ENJOY SEEING THE CROWD. CONNECTIONTHATISVITAL.”
“Well they all have a specific purpose and there are some that are so on the front sonically, such as ‘Like Culture’ and ‘Spare From My Size, Me’. From playing these tracks live I anticipate can have a connection with the most people. They have this real joy and urgency about them, they have an atmosphere that makes you want to grab life. I love those pieces and I love performing them as it’s the ultimate release of energy and it’s a catharsis.
“Yeah! There is but there are also things that are observational, it’s not a narration of my life. There’s scenes I walk through, I am the narrator but it’s not always from my experience. If it was a book I wouldn’t say it was a biography, it’s more of a non-fiction poem maybe. It’s almost like a documentary with surreal moments and hyper real moments, there’s a lot of different stuff. ”
Are there any particular songs that stand out for you personally?
It’s safe to say there is a lot of yourself in this record?
They’re purely emotional songs, it’s hard to talk about the structure of those tracks, they kind of just came to be.
“THERE’S SCENES I WALK THROUGH, I AM THE NARRATOR BUT IT’S NOT ALWAYS FROM MY EXPERIENCE.”
Lastly, what can we expect from you for the rest of 2022? “I am working a lot and will be writing lots, I really want to give myself time to expand into. There’s a couple of really reallyannouncementsexcitingontheway,excitedforfestivals, TV appearances, lots of really exciting stuff. I am going back to Ireland a lot now to write on my own and I am doing demos there that are sounding really different. So, more work and more music!”
Then there are the more lyric focused tracks such as ‘End Of Days’ and ‘Multitudes’, even ‘The Rarest Kind’. It’s much more social yet restrained, they’re kind of like big epic poems.
“I feel like every day I get a bit more insight into the album because I have been sitting on it for a while and been talking lots about it. When I sat down to write the album I didn’t want to work on one idea, there are several in the album. The uniting force is that the album is a journey, there’s a companion, there’s a guide, and a narrator. I see it like that. I also see it like a book so there’s chapters that it works through. With the intro and outdo being more on the poetic form, ramping in and out. The mood throughout the album is determined and almost fighty, there’s always something I feel like I am fighting for, not necessarily against. I always have things I am trying to say, and I am always passionate about getting them said and making sure they’re said in the right way.”
Me and Julian were crying on the take we did, I cried during it and I have no idea why. I like that there are different temperatures on the album. It’s a true representation of my strengths and weaknesses.”
ST. IVES IS A CORNISH seaside village mostly known for aggressive seagulls (keep them pasties hidden), idyllic scenery, surf, and it’s artistic community. During the summer months it plays host to a wave of tourists all looking for a seaside escape, so it’s hard to imagine it being a location for a touring However,band. in the instance of last night the St Ives Guildhall played host to one of Australia’s most successful and prominent psych bands, Ocean Alley. It was hard to believe that they’d be playing in a venue that is hidden behind a variety of crooked buildings and wonky pathways, but they were, and it made the night all that more far out. As we entered the historic building it was immediately clear what a treat this was to watch both Will And The People and Ocean Alley in such a unique and small space. Not to say the venue is tuny, not by any means but considering the size of the bands, it was a rare opportunity. Kicking the night off was the frantic and anarchic sounds of Will And The People, an interesting blend of characters and sounds. It was a sound that blended the early 2000’s indies with The Pixies, with a sprinkling of punk poetry for good measure. Their stage presence was utterly infectious as well, with the crazed eyes of front man Will Rendle constantly browsing through the horizon. Not to mention his flailing movements across the stage. It was closingespeciallyentertainingincrediblyallround,inthesong‘ Animal’, which saw Will Rendle throw himself into the crowd on multiple occasions (the first attempt resulting in a head dive towards the ground). After a quick changeover and stage preparation Ocean Alley were primed and ready to conquer St. Ives. The lights dimmed low and the instantly recognisable riff of ZZ Top‘s ‘La Grange’ echoed throughout the Guildhall. As they strutted out it wasn’t
OCEAN VALLEY WILL AND THE PEOPLE
GUILDHALL, ST.IVES, CORNWALL Australian psych rock titans Ocean Valley dazzled the sold out St.Ives Guildhall.
WORDS & PICTURES: KIERAN WEBBER LIVE SHOWS
long before they broke out into ‘Tombstone’, a psych barrage that filled the room. As the guitar licks swept gently over the crowd and the smooth vocals of Baden Donegal trickled into the ear canals it was evidently clear they had the crowd in their palms. The crowd was hanging off every note that they threw out, reciprocating with shouts, cheers and hollas, and for good reason. Ocean Alley put on one hell of a show, playing through their back catalogue, tracks such as ‘Confidence’, ‘Knees’, and ‘Yellow Mellow’ delighted fans, new and old. Not to mention that as a band they were incredibly tight, not a note out of tune. It was hard not to be enamoured by the band as they swayed across the stage, dishing out sonic psych delicacies. However, there was one moment that I am desperate to talk about, a moment that nearly brought me to tears. Around half way through the set, I heard the familiar guitar tones of ‘Breathe’ by Pink Floyd, and I couldn’t believe it, a medley that included ‘Comfortably Numb’ and ‘Money’ ensued. You have to be brave to cover any track by Pink Floyd, but to do it so confidently and so beautifully was truly moving.
If anyone doubted this band musicians,asthis would have firmly boasted their skills as artists. It was a very special moment that will remain with me till the day I Itdie.was a adoubttownsthemselvesAlleywithfromperformancestunningbothbands,Oceancementinginthehistory.Idon’ttherewon’tbepersoninStIves not talking about that performance for time to come. What a true delight and treat to witness.
The scheduling gods were working in our favour this year, giving our favourites Saloon Dion two sets; one in the early afternoon that fits perfectly with our plans for the day and one in the deep depths of the evening. We ran into Taryn McDonnell (guitarist/vocalist) and he snuck us “backstage” where Saloon Dion were writing their first of two last minute set lists. Getting back into the safety of The Louisiana Bar we managed to watch them catch the attention of those coming down the
BRISTOL
WORDS & PICTURES: CLUNY
THE SUN WAS ONCE AGAIN SHINING across the hills of Bristol for Dot to Dot festival 2022, with a rough plan for the day scribbled on a piece of paper in one hand, and camera in the other we were ready to face the music. After collecting our wristbands from the legendary Thekla and perusing the vast array of delicious looking food options, with the rhythmic sounds of Brighton’s Porchlight in the background, we head over to The Louisiana. POWELL
FESTIVAL
COVERAGE DOT 2 FESTIVALDOT
Alfie Templeman (and the rest of his adoring fans) the release of his debut album ‘Mellow Moon’. Between songs, soft shouts of “stop thinking” echo around the room, so the familiar opening riff was welcomed with a big cheer. The soft sounds of Mac Demarco inspired 19-year-old Alfie’s self-taught and self-produced music was a welcome break for the security who had earlier dealt with the bustling crowd of Bob Vylan. Not only was this a lovely audio experience, but also a great visual experience, with the lighting mellow,encapsulatingperfectlytheyetbright songs of Alfie Templeman and his band. Wandering Wandering through the crowds of people enjoying the last of the sun by the harbour towards The Louisiana for our penultimate band of the day.
stairs after atypical punk band Loose Article’s set in the main room, whilst sipping on ice cold water to counteract the increasing warmth of the small and slightly stuffy room. Their lively guitar music with an undertone of anger not only juxtaposes how lovely these lads are, but also the feeling of the cosy family owned pub/venue that is The WithLouisiana.notaminute to spare in our tight schedule we rush across central Bristol to The Lanes to see energetic duo Getdown Services, who never fail to get the crowd moving. Whilst singing about hating landlords they manage to get the stern security guard involved, and moments later in classic Getdown Services style, one half of the band, Josh takes his shirt off and throws it into the crowd, trusting that it will be brought back to him. Settling in for an afternoon of fantastic local bands at The Lanes, we take a breather before HAAL grace the stage. Despite being a massive change of pace compared to Getdown Services, HAAL’s post-industrial motor rhythms and hypnotic riffs in collaboration with their Scalping inspired visuals playing behind them capture the audience. This is a truly experience,mesmerizingwith drummer Joe Frost occasionally leaving the kit behind and appearing at the front of the stage to play
Ofsynths.course, heading back to the O2 Academy, where we spent the entirety of Dot To Dot last year, to celebrate with young
Arriving early and marking our spot at the front of the main room, we wait whilst watching Brighton band Lime Garden do their soundcheck, a perfect little taster of their genre-bending music and their truly kind-hearted actions. Minutes after disappearing, they emerge again politely pushing through the crowd back to the stage. The upbeat tempo and twinkles of synth with Chloe Howard’s beautiful voice singing dry-witted lyrics was the perfect way to spend the last of the evening whilst the sun was slowly setting outside.
Feet aching now, we wonder why trainer brands do not sponsor multivenue festivals, whilst walking back to the O2 to watch the embodiment of musical fusion that are Squid. It is clear that they take inspiration from jazz, whilst injecting aspects of punk and indie, with the mosh pits increasing rapidly however there will be no crowdsurfing from the main singer since Squid’s unusual set up sees the main singer sat behind a drum kit. His unique voice mixed with the manic trumpet towards the end of Houseplants creates a high energy, busy feeling without being completely, for a lack of better words, mind boggling. The heavy bass and rapid intensity increase feels heavily inspired by The National Anthem by Radiohead, with multiinstrumentalists Louis Borsale and Laurie Nankivell swapping between their different guitars and trumpet (for Laurie).
PICTURE: ALYX ASHTON
HUTCH CAN BE DESCRIBED in three words: unusual, hilarious, and amazing. Coming out of the seaside city Brighton, Hutch thrived in lockdown and since having been let out of the house, they’ve been unstoppable. Formative members include Dan Shephard and Jack Prichard, whom I sent these questions to through an incredibly annoying Instagram message which he graciously answered, wholly and brilliantly.
Radiator centre is newly introduced to our ears, what was the process of making the song?
“We wrote the song just before the pandemic - I used to walk past the RC most mornings on my way to work. When JP, Dan and Charlie lived together CATCH-UP
What can we expect from you in the coming months/ years? “Rad jams at hopefully lots more venues all around the known universe. The inevitable break up and then reunion and then capitalising on touring the first album over and over again until we eventually retire at 35.” Hutch as in rabbit hutch? “No, as in hutch. Band.” Can you think of a riddle and tell it to me? “Yes we can, but no we can’t.” Sky, forest or sea?
What’s your favourite colour?
“Fitzrovia Red - the best shade for a radiator.” Can you swim? and/or ride a bike? “We can all swim and ride bikes but some of us choose not to.” What is the songwriting process like for Hutch? “Luckily everyone in the band is rad shredder and songwriter so we all bring ideas in together and work them out in the room.”
WORDS: WILLOW SHIELDS HUTCH
Over lockdown, Dan and JP lived with bassist Charlie Bogg, they wrote songs and recorded live sessions, now that’s three. After that, they started to play shows, and needed a drummer, Owen Bullock, now there are four. And before recording their debut single ‘Radiator Centre’ they wanted, needed, some extra twang added to the mix, so in turn, they needed Eva Lunny. That’s the complete Hutch lineup (at the time of release, who knows who else they may have picked So,up).the aforementioned questions, and their answers. Hopefully, reader, this will shed some light on the psyche of JP and Hutch as a whole. And allow you to keep a special place in your heart for them, as I do. through lockdown, we started building the song around the harmonies. Then Owen brought the song to life in the room with his whooping and tempo changes, and Eva’s harp was the dreamy magic we needed to finally finish the song!”
Favourite mode of transport & your favourite transport story? “Trains are the best. Especially old western steam engines - someone should write a convoluted concept album about trains. Favourite transport story would be forgetting to put petrol in the car and getting stuck on the M23 until 4am on JP’s birthday.”
“We like the oceans. We like sea cucumbers. We’d like to see cucumbers.”
HOME GROWN Maisy Grace
MOPES Where do we even start with MOPES, fronted by the musical wizard Connor Powell, who is one of the most recognisable faces in the local scene. If Connor isn’t playing a show in his many projects, or under MOPES, then he’s in the crowd supporting the Cornish scene. The sound that MOPES produces is one that is reminisent of Parquet Courts and Ty Segall, it’s falloff energy, built around strong riffs, and carries that slacker/surf rock sound. It’s a DIY sound that is awkwardly confident, big things are certainly on the horizon for MOPES. Sweet Juno These sweet souls are fairly new to the Cornish scene but they’re quickly becoming a staple among the live circuit. Their blend of indie, classic rock, and even pop-punk creates an all-encompassing sound that is daringly infectious. Whatsmore is their stage presence is totally endearing, as the gentleness of their characters come through. It’s truly hard not to fall into the warm embrace of Sweet Juno. If you see them playing anywhere near you, be sure to check them out!
WORDS: KIERAN WEBBER
Max Rad
The multi-instrumentalist, producer, and songwriter Max Rad has been making waves through Cornwall, Devon and beyond. His blend of chill beats and mellowed vocals is a daringly infectious combination that encapsulates those summer days on the coast. His latest EP ‘Point Me In The Right Direction’ solidified him as one of the most exciting Cornish exports in recent years. Now as we drift through 2022 Max is pushing the boat out further. He’s playing a litany of festivals, a mini-tour throughout the south-west and more. This is a big year for Max so keep a beady eye on him.
Another newcomer in the Cornish music scene but one taking it by storm. Her atmospheric, dreamy and warm soundscape is something to be adored. This is matched by her deeply raw and honest songwriting that draped in emotive delivery. Maisy’s music is a true sonic adventure that is constantly evolving and developing, making her an exciting artist. You can catch Maisy at Boardmasters this year, be sure to search her out.
CORNISH SPOTLIGHT
LUKE JAMES
THE REVIEWS ALBUM REVIEWS
THE MOMENT YOU’VE ALL BEEN READING FOR. Once again Clunk Magazine has scoured the music scene and with the help of the entire team we have once again gathered together our top albums released this year. Take a dive and discover the Clunk teams thoughts on some of the hottest records this year.
ARCADE FIRE
The band’s sixth album pivots back to a more melodic, sincere, and effortful style, attempting once again to find a genuine connection.
LUKE JAMES
It’s been ten years since Django Django released their eponymous debut album to much critical acclaim. In the ten years that has passed since their Mercury Prize nominated album released, they’ve cemented themselves in the English music scene and musically continued to stand in a field of one. For those new to the band and the album, little introduction is needed as
Arcade Fire are a band who needs little introduction. With five albums, a movie soundtrack and multiple festival headline slots around the world, Arcade Fire have created a legacy for themselves with hard work, little fuss and a solid back catalogue. As the release of new album, WE got closer, it felt like Arcade Fire had found a new energy in both their presentation of themselves and in their streamed live shows. Though WE opens as glowing embers with spacey piano, acoustic guitar and Win’s unfussed vocals, the flame catches when the bass drum starts pulsating. Turning into something of an electro tune, the drums kick in properly soon after with a beat that will see dancefloors getting pounded into submission.
“Age Of Anxiety II (Rabbit Hole)” carries on this party with a pumping beat that almost feels like an LCD Soundsystem collaboration. After the John Lennonesque grandiose acoustic ballad of “End of The Empire I-III”, you can find recent singles “The Lightning I” and “II” respectively. Part 1 serves almost as a slower prelude to Part 2’s rampant bounce, raw energy and gang vocals. “Unconditional I (Lookout Kid)” is about as sweet a pep talk as you’ll receive from a stranger this year. “You can dance, you can shake, things will break, you’ll make mistakes” comes from the heart and lets you know that things won’t always go your way but “a life without pain would be boring”. The bounce to the track and you hit play on ‘Django Django’ and the journey begins. From the desert acid trip of ‘Introduction’ comes a one-two attack of arguably their most recognisable songs, ‘Hail Bop’ and ‘Default’. With a sound that blends together psychedelia and art rock in some kind of drug fuelled haze, there are intricacies and layers galore but at the heart of it is good old-fashioned solid song writing. Dancefloor fillers like ‘Zumm Zumm’ and ‘Waveforms’ sound as fresh today as they were when they were released originally as they bounce their way in to your mind and ‘Hand of Man’ is still delightfully soothing. As well as the original album, Django Django have employed legendary producer Mad Professor Dub to remix the album from start to finish. It speaks to Django Django’s songwriting and Mad Professor Dub’s ability as a producer that rather than sounding like forced remixes, each song sounds fresh and fits in to the flow beautifully. If nothing else, this re-release serves as a reminder of just how unique Django Django are as a band and may show itself to people that haven’t had the good fortune to hear this legendary band yet. So, treat yourself. Get a pair of headphones, get comfortable, hit play on this album and get lost in the musical equivalent of a journey through the desert to find yourself. the floating strings wrap themselves around your soul and are a welcome hug. Of course, this is all only scratching the surface as WE is an album that can be talked about at length. As well as the quality of the individual songs, the album has a flow to it that almost feels story-like. Musically it feels like an amalgamation of all of their albums before but also a step forward and fits perfectly in the timeline of Arcade Fire. The renewed energy that they seem to have found is heard in every note and there’s a live rawness to it that is beautifully refreshing. 2022 belongs to Arcade Fire and they’ve earned it.
Django Django Django Django (10th Anniversary Edition)
LUKE JAMES
LUKE JAMES
Everything EVERYTHING Raw Data Feel ‘Raw Data Feel’ is the sixth album from Manchester quartet EverythingEverythinganditsees the band set themselves apart from others yet again.
Fräulein A Small Taste
Fräulein are a two piece originally from Bristol and now residing in London and their debut EP ‘A Small Taste’ is a crash course in their brand of noisy 90’s-tinged alt rock. With a simple guitar line, thumping drums and female vocals dripping with attitude, opener ‘Drag Behind’ wouldn’t be out of place on a 90’s era Sub Pop compilation. When Joni Samuels and Karsten van der Tol unleash their epic sound, it transports you to a dingy club dripping with sweat and beer. The stomping drums that kick off ‘Breezy’ drive along the muted guitars and sweet vocals, easing you into the gigantic chorus which sees the drum kit abused and the fuzz on the guitar jacked all the way up. ‘And I Go (La La La)’ brings the sing along “la la la” chorus while the music sounds reminiscent of Nirvana with the swirling drum rolls and simple but effective riff work. ‘Golden Boy’ goes a bit easier on the listener after three of Fräulein’s best attempts at caving in your speakers. Though the track may be a little quieter, the drums are no less severe, and you can hear each hit reverberate. The guitars play an ominous plucked riff while the vocals add a sweet layer. ‘Golden Boy’ feels like a warm down after an intense workout of an EP and though it takes it easy on your speaker, it’s no less intriguing. ‘A Small Taste’ feels like just that, a little snippet of what Fräulein are capable of. A tribute to a sound that inspired them and with a monstrous weight behind it, ‘A Small Taste’ isn’t so much an introduction to a new band as it is a band kicking your door in and letting themselves in.
‘Teletype’ starts the album with its glitchy sounds and pounding bass drum as the track evolves in to almost a disco track with the synths and indie guitar flittering around your head, making it in to an electro pop track which would have anyone want to bounce along to it. Their take on dance continues with ‘I Want A Love Like This’ keeping that glitch theme running but this time with a full hopping drum beat and pulsating bass to create a transcendent indie dance gem. ‘Bad Friday’ is the song that sounds most like Everything Everything’s previous work with the emphasis on percussion from the outset turning in to a kind of low-key dancehall track with Jonathan Higgs knack for generating fantastic singable melodies ringing over the top. ‘Jennifer’ comes as something of a breather on ‘Raw Data Feel’ as the electronics are taken away and the band take it back to the core instruments. Still with that bouncing drive, there is something about Jonathan’s soaring vocals and the guitar that floats about that make this track stands out as a beautiful moment. In the writing stage for ‘Raw Data Feel’ tried something completely new and fed selected information in to an A.I. automation process and used its responses as the basis for the record’s lyrics, song titles and artwork. This trust in the future is felt in the music as well as EverythingEverythingseemtorely more on electronics on this record than they have on previous. The result is an album that would sit quite comfortably in an indie club or on your car stereo on a summers day, either way you won’t help but dance. With ‘Raw Data Feel’, EverythingEverythinghaveyetagain demonstrated that they are a band that has no ties or peers and comfortably explore themselves and their music while maintaining an identity that is unmatched.
‘House That Sailed Away’ and ‘Delivered’ bring the pace down a little but in very different ways. ‘House That Sailed Away’ takes the wistful 60’s Americana Route whereas ‘Delivered’ takes the gloomier route with a sparse feeling to it. Part shoegaze, part indie, part Placebo tinged rock, Pillow Queens are creating their own brand of rock that feels both heavy and beautiful. ‘Leave The Light On’ feels iconic and carries the kind of weight of bands such as The Joy Formidable but with a lightweight beauty entwined throughout. Given the growth in songwriting and sound since the debut album, it will be exciting to see where Pillow Queens go from here.
KIERAN WEBBER LUKE JAMES
Pillow Queens Leave The Light On ‘Leave The Light On’ is the latest album from Dublin’s Pillow Queens and is the follow up to their 2020 debut ‘In Waiting’. As singer Pamela Connolly’s gorgeous vocals break in on opener ‘Be By Your Side’ with the gentle guitar and the bass drum which sounds like a heart beating out of a chest, you can feel the electricity in the air. As the song builds, it takes you with it in a wave of beautiful noise. As the song ebbs and flows with vocal melodies sweeping in and out and drums taking the timing wherever they feel like, ‘Be By Your Side’ feels like the perfect start to a sublime record. From there, ‘Leave The Light On’ presents itself as a gigantic album. Though ‘The Wedding Band’ would be a standard indie song in some band’s hands, Pillow Queens create a huge sounding blanket of music. ‘Hearts & Minds’ with its vocal melodies and galloping tempo still maintains that airy feel with the guitars wailing over the top.
Alfie Templeman Mellow Moon
Alfie Templeman, the selftaught multi-instrumentalist from Bedford has been turning heads since his 2018 debut “Like An Animal’ EP. The psych tinged release was the beginning of his exciting career at a very young age. Since then, he’s released a slew of singles, EP’s and mini-albums that have all struck a chord with fans new and old. However, his most recent release and debut album ‘Mellow Moon’ is his most ambitious, daringly infectious, and cohesive body of work to date. Throughout the album you’re taken on a sonic journey that drifts and weaves through indie, psychedelia, and pop. It’s an all-encompassing sound that constantly remains fresh and interesting, at no point does this album become boring. Although Alfie tackles subjects such as mental health and relationships (it’s arguably his most honest recording to date) the album remains fun, its eternally enjoyable. ‘Mellow Moon’ opens with the subtle, yet effective ‘A Western’, a track that delves into the intricacies of Templeman’s songwriting. Starting softly with a groove-laden bass that is interjected by the occasional wail of the guitar, driven forward by Alfie’s commanding, yet gentle vocals. This atmosphere is felt throughout, particularly ‘Best Feeling’, ‘Galaxy’, and ‘Mellow Moon’. ‘Mellow Moon’ is Alfie Templeton claiming his slice of territory in the musical geography of the world. It’s a calling card to say hey, you! I can do this too and I can do it better than almost any of you. It’s an exciting release that marks the beginning of what is likely going to be an incredibly successful career for the young musician.
LUKE JAMES
LUKE JAMES
The Regrettes Further Joy After releasing their second album ‘How Do You Love?’, LA four piece The Regrettes were riding high with headline shows, festival slots and constant touring. When they retreated back home in the pandemic and LA shut down, they went through something of an identity crisis after the touring that had become their life of two years had been ripped away. When they were allowed to regroup, they spent 10 days together in Joshua Tree and what we have as a result is their new album ‘Further Joy’. Where before The Regrettes were firing out poppy garage rock bangers, they have now entered the pop territory in earnest. Look no further than ‘Anxieties (Out Of Time)’ with its twinkling verses and euphoric chorus. The groove is infectious and the syrupy sweet feel to it is palpable.
Wet Leg
‘La Di Da’ has a joy pouring out of it that will have you singing along with the titular “la di da” in no time at all. Lyrically, it has an edge to it that belies the upbeat feel to it. ‘Anxieties (Out Of Time)’ deals with the subject matter in the title. “An existential crisis and it’s only Monday” sums up the second track ‘Monday’. While the guitars may remain in tracks such as the upbeat electronic pop punk feel of ‘Better Now’, the synths and electric drums are most prevalent on Further Joy. This is only of benefit however. With this new direction, The Regrettes have instantly withthemselvesmadevisibleanalbumfull of gorgeously gooey pop. their debut ‘Wet Leg’, expectations were high and so it came as a relief that they can indeed back up the expectations. As the dreamy ‘Being In Love’ comes straight in with droning bass serving as a backing for vocalist Rhian Teasdale’s sweet and wistful tones leading to a chorus that seems like a throwback to early rock acts like The Ronettes. The effortless cool threads itself through the entirety of ‘Wet Leg’ and the utter truthfulness in lyrics such as “I have to find a way out of the plans I made in the past, all too fast, force quit that’s it” (I Don’t Want To Go Out). The singles are in attendance as well and fit beautifully into the flow of the album. To discuss ‘Wet Leg’, the band and the album, in a short review is nigh on impossible. With lyrics that are brutally honest with topics such as not wanting to go out and feeling more comfort in lying in bed with your phone than on a night out, they never get bogged down but rather lifted by the garage pop dreaminess almost letting you know that it’s ok to feel like that. When a band receives as much hype as Wet Leg have, you worry that they may disappoint when it comes time to release an album, but all Wet Leg have done here is deliver on a promise made from the very first single and released an album of the year contender.
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If you haven’t heard of Wet Leg by now, then the only excuse is that you live on a remote island with no communication from the outside world. Ever since the duo from Isle of Wight burst on to the scene with the effortlessly cool and beautifully absurd ‘Chaise Longue’ they have been the name on everyone’s lips. By the time they released their garage pop follow up ‘Wet Dream’, the hype was real and the demand for an album overwhelming. By the time they dropped
While it feels like Ohio two piece The Black Keys are still fresh faced, their latest album ‘Dropout Boogie’ is their eleventh studio album! As well as creating an envious back catalogue, Dan Auerbach and Patrick Carney have a serious resumé when it comes to the world of music so when they come together to create, it comes with a depth of knowledge and love of the art form. The Black Keys waste little time as ‘Wild Child’ punches through your speakers. Auerbach’s vocals are passionate, the guitars are filthy and the drumming lively in this up-tempo garage blues stomper. ‘It Ain’t Over’ slips one foot into soul with a vocal track that has the grain and the feeling of some iconic 70’s soul epic. The chorus wails as the thick layers of ‘thatlifeandcomplimentinstrumentsthevocalsbringthissongtoandgiveitaweightishardtoimitate.
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Finally, I would like to thank all the musicians who have taken the time out of their busy schedules to chat with the team at Clunk and contribute to this Zine. Till next time guys.
Running at only thirty-four minutes, ‘Dropout Boogie’ doesn’t feel rushed or too short. Instead, The Black Keys reach out of the speaker and drag you into their dark and hazy world. For a band eleven albums into their career, The Black Keys have absolutely no right to be creating albums as incendiary as this.
2022 has shaped up to be Clunk’s biggest year yet – with the success of our previous Zines and gaining exclusive coverage for one of Cornwall’s biggest festivals this has certainly been incredible time for myself and the entire team. This isn’t to say it’s been an easy journey, but with hard work and dedication we’ve managed to succeed! With this I want to begin by thanking all the contributors who have given their time to write, photograph and interview for this zine, we couldn’t have done it without you. I also want to say a special thank you to Em Marcovecchio. As Kieran has mentioned Em will be joining us on this journey and will oversee and add the final touches to this and future zines.
Good Love’ features the legendary Billy F. Gibbons of ZZ Top fame
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Dropout Boogie
LUKE JAMES
The Black Keys and has a blues funk to it that’s laid on so thick you can barely see through it. The low riding groove sets the perfect template for the guitar lick that goes hand in hand with the vocals to create a sound that comes from the heart and soul. The main sound that runs through ‘Dropout Boogie’ and ‘Good Love’ in particular is that blues sound that could only come from the deepest of the Deep South. It’s the type of blues that smells of the bayou and is truly heard in the vocal delivery and the haze of the guitar tone throughout.
