COME PL AY WITH K . F L AY THE ORIELLES PUMAROSA ZUZU PHOBOPHOBES VA U G H A N AND LOTS MORE... BEHIND THE SCENES AND UNDER THE SKIN OF ALL THINGS MUSIC
PICK ME UP FOR FREE OR BUY ONLINE / #006 / OCT2019
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WHAT’S INSIDE
TEAM CPWM MANAGEMENT Tony Ereira MAGAZINE Andrew Benge LABEL Scott Lewis EVENTS Sam Robinson K.FLAY & THE ORIELLES COVERS Andrew Benge
THIS ISSUE SPOTIFY PLAYLIST
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SPECIAL THANKS In no particular order - Janelle, Jenni, Kristine, Sam, Declan, Leona, Leanne , Sofia, Alexia, Frank, Alice, Tom, Steven, Isabel, Tomoya, Jamie, Nicholas , Warren, Jemima, Steve, Esme, Henry, Sid, Al, ZUZU, Sophie, Emily, Jamie, Chris, Elliot, Jack, Bede, Nathan, Nisa, Naomi... and everyone else that helped make this happen.
SMALL PRINT
Come Play With is printed by Mixam. Copyright © 2019 All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, email the publisher at andy@cpwm.co. Printed in the UK.
04 NEWS / OCTOBER 2019 06 K.FLAY 12 LOCAL CREW 15 ĠENN 16 PHOTO BOOTH 20 PUMAROSA 23 VAUGHAN 24 THE ORIELLES 26 ZUZU 29 PHOBOPHOBES 30 RUTHIE 3
NEWS
OCTOBER 2019 Hope everyone had a brilliant summer and squeezed in some festivals or some sun?! We saw our 15th 7” release in September from Faux Pas (currently touring with LIFE) and Uncle Buzzard while Jack Saunder’s loves Talkboy made it onto a stunning physical 12” compilation from US vinyl subscription club, Vinyl Moon. October brought a sold out HerFest with The Orielles, Calva Louise and an amazing bunch of female artists with ground breaking performances at our inaugural Colour Me In Festival (celebrating Spirit Day) from Isaac Saierre, Maya Kally, Kermes, Kimmy Beatbox and Toya Delazy. November brings a beautiful release from Hollow Spheres and debut EP from Talkboy (catch them supporting The Howl & The Hum) along with a special homecoming Leeds headline from last year’s singles club legends Dead Naked Hippies bringing to a close a UK tour and year which has seen them cement themselves as a serious force in UK music. We’ve got one more 7” release to come in early December from 2 brilliant bands who are demanding attention for all the right reasons - DENSE and Sea Legs. As chosen by Phil Taggart (BBC Radio 1), Yasmin Lajoie, Adele Slater (Liam Gallagher, Dream Wife) and Paul ‘Too Pure’ Riddlesworth in May. At the time of writing we’d just heard that Arts Council have very kindly agreed to support an extension of our PRS Foundation work to showcase more women and LGBTQ musicians in music throughout 2020. So expect a lot more to come in that space... along with some more exciting releases being planned right now. Any musicians wanting to work with us, keep an eye on our social media for 2 upcoming call-outs coming in the weeks ahead. Stay safe and look out for each other! Tony, CPWM
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THE NEW ALBUM LISTEN NOW
CURRENT ARTISTS
THESE ARE THE ARTISTS WE’RE WORKING WITH NEXT, LISTEN + FOLLOW ON SPOTIFY
K.Flay TALKBOY
UNCLE BUZZARD
FAUX PAS
DENSE
SEA LEGS
VAN HOUTEN
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K.FLAY 6
The “genre-defying” artist who’s trying to find a solution to life’s chaos through music.
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My interview with K.Flay started on a pretty casual note. We talked about breakfast and granola bars things you wouldn't usually expect talk about with a Grammy-nominated artist. This conversation reveals who K.Flay is as an artist and an individual- a down-to-earth, reflective soul whose music is a wonderful concoction of sounds that she selfdescribes as "genre-defying". While the artist is largely inspired by top talents such as Lauryn Hill, Cat Power and Missy Elliott, her real inspiration lies beyond the realms of the material world. The young K.Flay started dabbling in music at a tender age. Her father was an amateur guitarist who introduced the young Kristine to the joys of playing the guitar. He passed away when she was just fourteen, transforming him to an almost "ghost-like" figure in her life. As a result, she admits that he serves as the "narrative device" that drives her forward and encourages her to push the boundaries of creativity. K.Flay expanded her musical horizons during her college days. Studying psychology and sociology led her to develop an analytical perspective which she uses to examine the situations around her. Furthermore, the whole experience of moving to California, getting exposed to new ideas and discovering new ways of being in a new world, inspired her to further
her passions and explore a possible career in music. After a couple of gruelling years battling unfair contracts and building a following through good old gigging and touring, she was finally recognised by the industry when she was nominated for two Grammies last year. K.Flay admits that she finds the notion of music awards slightly absurd. However, it was an excellent way for relatives to acknowledge her work and to celebrate all the hard work with her collaborators.
“YOUNG PEOPLE NOWADAYS FEEL VERY DISCOURAGED... I NEEDED TO CREATE MUSIC TO FIND A SENSE OF RELIEF IN ALL OF THIS.� 2019 has also been an interesting and exciting year for K.Flay. Her latest album, Solutions, was released last July to critical acclaim. With this LP, she wanted to depart from the notion of hope amidst pain. The single Sister emerged from a deep sense of alienation, and the feeling of being perceived as the black sheep. Instead of focusing on the issue, she decided to acknowledge her vulnerability and learned how to transform 9
negative experiences into a positive and fulfilling creative process. Furthermore, she was inspired to pursue this hopeful perspective after talking with her young fans after her concerts. "Young people nowadays feel very discouraged. When you look at government leaders that don't reflect you or your values, you feel super pessimistic," she stated, "I needed to create music to find a sense of relief in all of this." And what about her songwriting process? For Solutions and her last album, K.Flay surrounded herself with a group of trustworthy collaborators. The bodypositive tune "I Like Myself (Most of the Time)", started as a demo on guitar in LA. She sent this demo over to one of her songwriting partners, and ultimately, recorded it in Nashville. On the other hand "Good News" is the final incarnation of a song she wrote six years ago. One of the stellar collaborators in her list includes the legendary guitarist Tom Morello. However, she mentions that apart from being a collaborator, he's also a close friend. They share a lot of similarities... including the fact that they're both from the Midwest. Morello also serves as an inspiration for K.Flay as an artist. "Working with Tom was a huge joy," she says, "The biggest takeaway for me is the fact that
someone like Tom remains creative, excited about new music and a passionate performer and advocate for social and political change." Morello's integrity and career longevity is something that hugely invigorates K.Flay to use her music as a platform to encourage other individuals. K.Flay's lyrics are informed by the experiences, thoughts and emotions that result from the fact that she navigates the world as a woman and an LGBTQI+ artist. "I walk through the world as a woman, so, of course, this experience informs my world view," K.Flay says. In her music, she explores the interplay between vulnerability and invulnerability, and how female experiences are indeed a mixture of both.
regards to the gatekeepers of the music industry. "In many ways, the gatekeepers haven't changed as rapidly as the people who are making the music," K.Flay insists, "On the upside, though, there are folks who wouldn't have managed to get to where they are now if things were still the same as they were 20 years ago." K.Flay still feels connected to the 20-something University student who was discovering and exploring herself and her new surroundings. During those years, she frequented a tonne of shows at The Fillmore - a historic concert venue in San Francisco - and it was always a career goal to perform there. This big dream turned into reality a year and a half ago, when she sold out a show at this same venue.
When discussing diversity in the music industry, K.Flay believes that the industry is definitely more diverse than it was when she initially started making music in 2003. "It's changed immensely!" she exclaims, "When the means of production become widely available, there are a number of natural changes that occur, just because more people have access to creative tools." She notes how, thanks to independent distribution services, musicians from all over the globe are now able to disseminate their music online.
As an artist whose roots can be traced back to the DIY scene, I was curious to know if K.Flay could give some words of advice to all the hardworking DIY artists out there who are trying to "make it". "There were two main things that made the biggest difference in my career and set me up to weather the ups and downs of the music industry," she says, "My first piece of advice would be: stay DIY! I can engineer my own music, code a website and use Photoshop and Illustrator, amongst many other things... having a complete skill set is so crucial! A lot of artists do Her main concern, however, is not think that it's important to the fact that the online sphere master different domains. But is now inundated with musical I do think that when times are content. She questions tough and nobody cares, this whether this diversity exists in stuff is essential." Words by Janelle Borg
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"The second piece of advice would be to play as many live shows as possible," she says, "Get connected to the local promoters, let them know what you're doing and involve yourself in the local scene." K.Flay also asserts that gigging, pulling a crowd and learning the trade help artists to stand out from the crowd and ultimately, pursue a professional career. K.Flay continues to tour as much as it is physically possible. Her upcoming tour in the UK promises to cement her position as a bona fide performing artist. "UK audiences are awesome!" she says enthusiastically, "The appreciation for live music and rock-adjacent music is really special over there." The artist is even revamping her live set and her show visuals, to produce something that aims to mesmerise the audience. With every album, K.Flay continues to push the boundaries of creativity to produce a piece of art that is truly meaningful to herself as a sensitive and socially aware individual, and also to her fans. Using her extensive skill set, she's a clear example of how the DIY scene transforms individuals and sets them up for a long-lasting and exciting musical career. The current album "Solutions" is out now on Night Street/Interscope Records.
Photography by Andrew Benge
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LOCAL CREW The ones waiting at the stage door when the first truck arrives at 5AM and the last ones to leave at 3 O’clock the following morning. Local Crew are the music industry’s silent heroes that have worked behind the scenes to bring you all of your favourite live concert experiences. 12
It could be the adrenaline rush of the gig, the overpriced alcohol from the arena bar or perhaps the mere fact that we don’t want to ruin the magic for ourselves, but for some reason, we never pause to ask what goes on beyond the curtain. WHAT IS LOCAL CREWING? There are two different types of Stage Crew. There are Touring Crew whom you might have heard referred to as ‘Roadies’, and there is Local Crew. The difference between the two is simple. Touring Crew will travel around with a specific production that they have been hired to work for. Often they will fill the role of a highly-skilled worker such as a sound engineer or lighting technician. Local Crew, on the other hand, are the people that assist the Touring Crew in setting up and taking down the productions when they arrive at a venue or event. Work can include: organising dressing rooms, hanging lights, making stages, cabling PA systems, building video walls and operating spotlights. SEEING THE WORLD Although Local Crew often work at arenas or festivals close to home, they are often required to travel across the country and sometimes even overseas. Life moves fast in festival season with some crew members traveling from festival to festival without breaks in between. Asher Brereton is 21 and has been stage crewing for just over two years. He’s already worked across Europe at Lollapalooza in Berlin, Gron Koncert in Denmark and Glastonbury Festival in Somerset. This summer alone he has worked for Leeds Festival, Latitude, Wilderness, Ed Sheeran, Take That, Download and Slamdunk. Although constant traveling can be a tiresome lifestyle,
there’s not many jobs that can offer you the chance to see so much in such a short period of time.
“MY FAVOURITE PART OF TURNING UP TO WORK IS KNOWING I’M GOING TO SEE A LOT OF THE PEOPLE I LOVE” MAKING MEMORIES AND FORMING FRIENDSHIPS Gemma Chester is 21 and studying Music Production at Leeds Beckett. She says: “I don’t think I’ve ever had a job before where there has been such a feeling of family with co-workers.” She recalls the start of Summer this year: “I was sent down to Gloucester with five other people I’d never met before to work a couple of gigs at the stadium where we had to camp together for the weekend. Through work and hanging out after shifts, we became great friends.” Asha says: “My favourite part of turning up to work is knowing I’m going to see a lot of the people I love.” THE DANGERS & RISKS OF THE JOB Although there are many positives, crewing also comes with many risks and dangers. Huge productions are put together in short periods of time and with video walls, speakers and lights being hoisted into the air, a hardhat is essential for the job. Asher believes that the risks of crew work are part of the reason that Local Crew are 13
such a ‘close-knit’ team. “When working you have to look out for each other as there are so many aspects that can injure, or in a worst case scenario, result in somebody dying.” “I’ve had injuries myself and they could have been much worse if it wasn’t for people looking out for me.” HOW TO GET INVOLVED Perhaps one of the most exciting aspects of Local Crew work is its accessibility to those that are eager to get involved. Laura Pope is 20 and studying at Backstage Academy, a University in Pontefract that specialises in the production of live events. Despite her academic background in the occupation, she believes that all you really need in order to get work as a Local Crew member is passion. “You’ve also got to have a sense of pride and achievement in what you do.” She says: “If you have a passion for it then you’ll find a way.” For Laura, it was her experience of the live music scene that sparked her love for the work. “I remember back when I was thirteen years old and the first band I saw was Sleeping with Sirens. Everyone was reacting to the lights and the sound and I thought to myself, “this is crazy.” “People can be so moved by what happens on stage and they’ll remember what they see for years in the future - You want to make that memory worth remembering.” “Even though I’m a very small cog in the wheel, I love being a part of something bigger.” Laura is also eager to dispel the myth that crewing is a ‘man’s job’ in spite of common misconceptions. “On my first
crew call I realised that it was a male dominated industry and I did feel a bit intimidated in that aspect.” Despite initial impressions, Laura has found confidence in her place within the industry and knows that her role is just as important as anybody else’s when it comes to bringing a concert to life. “Even though crewing can often involve physically strenuous activities and strength might not be my biggest asset, there’s been times when I’ve been able to offer other qualities that are equally as valuable.” BRIDGING THE BREAKS IN THE MODERN MUSIC INDUSTRY Local Crew work seems packed with adventure and excitement, but it doesn’t come without its drawbacks. Late nights, early mornings, long hours, physically taxing work and a lot of traveling. Words and photography by Declan Vink
Kay Perry is 19 and currently studying to become a Production Manager for large events and festivals alongside her work. “I’ve pushed myself both physically and mentally, achieving things that I didn’t think possible for myself. I feel that by taking myself out of my comfort zone, I’ve become a much stronger person.” “I used to find it extremely difficult to meet and introduce myself to new people and the idea of being in a room with a group of people I didn’t know made me extremely anxious. My experience of meeting all of the kind and encouraging individuals that I’ve had the pleasure of meeting this festival season has completely changed my way of thinking… I’d say my favourite part of the job is now being able to meet and get to know so many people.” 14
In the music industry where mental health is a persistent and unrelenting problem, it seems that Local Crew work is building bridges, forming lifelong friendships and generally changing lives for the better. Offering a challenging but equally rewarding lifestyle of bringing joy to thousands of people in a day's work, crewing can bring a purposeful and fulfilling career path to anybody that wishes to pursue it. If you don’t mind hard-work and losing a bit of sleep, Local Crew work can offer exciting opportunities, strong connections and a bunch of memories you’ll never forget.
5 QUESTIONS
ĠENN WHO ARE YOU?
We're ĠENN (Maltese for mad/ crazy). We're four misfits living a crazy life, and we're also trying to make sense of the world through music.
WHAT DO YOU DO?
We're musicians. Besides making music, we also take care of the band's visual output, admin work, organise DIY events, etc. etc... you get the idea ;) We're as DIY as it gets.
WHY DO YOU DO IT?
As cliché as it sounds, we can't live any other way. We're musical
nomads, and we're not destined to live a 'normal' life.
“BREXIT AND ITS EFFECT ON OUR DAILY LIVES AND AS MUSICIANS IS SOMETHING THAT CONCERNS US” WHAT’S HAPPENING NOW?
We're gigging, gigging, gigging. We're also writing brand new tunes and working hard to get 15
our name out there. ĠENN World, anyone?
WHAT’S THE HOT TOPIC?
Brexit. Three of us have moved over from Malta, and we also plan to tour mainland Europe regularly...so Brexit and its effect on our daily lives and as musicians is something that concerns us. To keep up-to-date with all things ĠENN check out their social media: @genntheband on Instagram /genntheband on facebook ĠENN on Spotify.
Photography by Andrew Benge
PHOTO BOOTH
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01 KHALID (ANDREW BENGE) 02 THE BIG MOON (ALEXIA ARRIZABALAGA) 03 ANTEROS (FRANK RALPH) 04 JOHN NEWMAN (ANDREW BENGE) 04 THE BLINDERS (FRANK RALPH) 06 BARNS COURTNEY (ANDREW BENGE)
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PUMAROSA The hands that fate deals can often be unkind. It could be an unexpected breakup, illness, or even the simple loss of a job. Whatever it is, getting over them is no easy feat, but once you're out the other side, well, you're all the better for it. 20
For Pumarosa, what they were dealt was enough to shatter the tectonic plates seamlessly moving below them. One was a line-up change early on in their career, and the other, a cancer diagnosis in singer Isabel Munoz-Newsome. Returning with 'Devastation'; an even more experimental album that diverges from 2017's 'The Witch', proves that Pumarosa are all bark and bite, ready for whatever the future holds. "Lyrically, it's more of an introspective album in a lot of ways." Guitarist Jamie Neville starts on the world that birthed 'Devastation'. The amount there is to unravel is astounding; it's multifaceted while hiding behind nothing. Firstly, the musical element, as Jamie describes, is "the exploration of that kind of music is quite a natural process," "We all listen to a lot of electronic and ambient music. The way we perform together has always been so ecstatic, and euphoric, that this was just a natural blend of what we were all excited by. Then its blended with our natural interaction in terms of how we play music, which is usually trance-like and euphoric - you get into this one state.
listening to it, we were just like, 'that's just the working title' - we didn't like it. As an emotional response directly to it we were like…' no'." He says.
“SOMETIMES YOU DESTROY; YOU HAVE TO SORT OF STRIP THINGS AWAY AND UNRAVEL THINGS. AND YOU END IN THIS POSITION...” "There's still reasoning behind calling the album' Devastation', but it's not like that song sums up the whole thing. A lot of people do; they'll take one song, and that's the title track - the album - and that song is the core of what we're trying to explore. With this, that's not the case. As with everything, Pumarosa builds upward. Their true meaning is entrenched in the intricate emotional complex of life. Jamie bursts this notion open even further
Beginning with the garagesoaked thunder of 'Fall Apart' and culminating in the expansive, driving titular track, the course of Pumarosa bleeds throughout 'Devastation'. It harnesses itself as an accurate representation of the journey they've been on. Its sheer power all begins, naturally, at the end.
"It's more just like, 'What is devastation?' It feels like, in this, it's an element of you. Sometimes you destroy; you have to sort of strip things away and unravel things. And you end in this position where - and I mean, this is my interpretation - you can experience the rawness of life. Even down to a cellular level. You can understand something." He laughs. "It's an active process; it feels like meditation to me.
"We wrote the song called 'Devastation', but funnily enough, when we were
A key marker of this specific mindset crops up in 'Lose Control'; "Sometimes I fuck 21
shit up, just to know I'm still breathing." Given the road that they've had to undertake, Isabel primarily, a little chaos amongst the destabilising madness couldn't go amiss. All of these experiences feed naturally into the musical elements. The subconscious holds everything you experience deep down, mulling it over and letting it drip out as and when it pleases. The fact that Jamie sees 'Devastation' as being "tighter than the last album in the sense of structure," is telling. It could be due to those tectonic plates shifting out of their control, meaning the one thing they do control should genuinely be theirs. "It feels more intentional in that sense; it's interesting. Personally, I'm just really pleased. When you're in a band, you expect to keep playing the same songs, the same type of music, in some sense." On a personal level, the growth has been significant for all involved, as Jamie muses. "With this album, we're showing a lot of ways that we're not going to remain in one place. "We're going to continue to develop and explore different territories and different areas sonically - emotionally. And that's good because there's a lot of bands and artists that I totally love, and this isn't a criticism of the way people make music. But you know, a new album comes out, and you listen, 'yeah, exactly the same as the last one'. "How can their lives be the same? Is their music taste exactly the same - what's the deal? Are they just literally static, it's strange to me.
Some people are like that and live by one clock continuing to do the same thing. I think it's good to accept that change happens and incorporate it into sound. The beginnings of 'Devastation', started like every other project Pumarosa have created - and as every band finds its origins - some friends in a room. "When we start, the way we write is we all get in a room, and we improvise and just jam. Creating different atmospheres and then Iz will sculpt the lyrics into it, and then bring it back. Then we're weaving different experiences into the songs at different times." The only difference this time is the experiences. "There was a lot of leading up to this. It's been hard, there's been difficult things, Iz had cancer, and she overcame that, and the relationships in the band that changed."
"It's about that tension between your behaviour, and your feelings and how a few people think you are. It's very internal; lyrically, in particular, it's an internal body of songs. "So I think it's just natural that those kind of issues will have fed into different parts
“IT'S ABOUT THAT TENSION BETWEEN YOUR BEHAVIOUR, AND YOUR FEELINGS AND HOW A FEW PEOPLE THINK YOU ARE.”
of the album, sometimes just indifferent. You know, within one song, there will be like three or four circulating issues, but they "It's been crazy in a lot of all have their own comment ways. It wasn't like we felt like we needed to press upon that to make. But yeah, because it's so emotional it's not so with the music. When those things happen, if you're writing conceptual, not like, 'We know exactly what this is saying, this music, it becomes about the experience - hurt." Jamie says. is a very concrete message'. It's an exploration a lot of the time." "A lot is about Iz's personal experiences, and the lyrics This in-depth exploration is relate to that. It's about how what's given Pumarosa this you emotionally engage with new hard edge, the one that's your surroundings, how you built an impenetrable shell feel like you're supposed to engage, and then how you feel around what 'Devastations' DNA truly is. internally." There's no doubting that unpacking all of this is heady work. It breaks down primary human emotion and means you dive head first into a swirling pool of your intuition and definition. All told its meant that Jamie really understands what Devastation represents in its fullest form. Words by Steven Loftin
"In some ways, it really is emotional, and in other ways, it's impenetrable - harder, the feeling of it is harder," Jamie explains. "It's weird how it's worked in two ways. It's like being less about the experiences of enjoyment, enchantment and euphoria like there was on the last 22
album. It's more introspective, darker, harder, more personal, and strange that it's worked in this way in that extreme way. "It just feels like it's such an emotional thing. It's not like work in which you can't involve the experiences over the long term, medium-term, and literally that exact moment. They all get condensed into the work you do. That's what gives it its random element. You are structuring something to another meaning that is comprehensible, but then somehow, a part of you yesterday, or today, like a tiny part in some way seeps in." This all naturally begets the question - now the process of catharsis is complete, have Pumarosa reached a point of equilibrium? "I think that now, the music we're playing is so improvisational, it's so openended. It definitely feels like we got something out of our system with this album. In terms of where we can go, it's anywhere. And the stuff we're doing now is a different show, too. And it is calmer in a way. So maybe there is a sort of equilibrium.” There's no real telling where Pumarosa will go next after all this second chapter has only just begun. Ahead of them sits a road with enough room for them to evolve while on a forward trajectory - emotional catharsis and all. "The songs have taken on a new life still. Continuing to keep changing, you know, and you keep feeling like an emotional connection to you, in a way it can't ever really remain static." The second album "Devastation" is out now on Fiction Records.
DIGGING DEEPER
VAUGHAN ON... IDENTITY
Known for his dark, eloquent lyrical themes of the repression that he felt growing up queer, Vaughan is a sad-happy rising pop artist who is sharing his story of how a hedonistic lifestyle brought him down to his knees. Hopelessly trying to sleep, I remember shivering in my bed at 3AM, struck with the realisation that I couldn’t keep dealing with my issues on my own anymore. 24 hours later I was back at my childhood home offloading my story to my family and for the first time, it wasn’t just me against the world anymore. I never really loved myself growing up, hiding my emotions, hiding my sexuality, and everything I did pushed me deeper into a place of repression, self-deprecation and shame. Stylist Ryan Wohlgemut
Then alcohol, drugs and sex came into my life. I finally felt like I was a part of a community among other LGBTQ+ partiers, who made it all seem so normal. From that point, I made the unconscious decision to start living as hedonistically as possible. Although it was unpredictable, I never slowed down. I traded my low self-esteem and relief from mental health issues for this pseudo culture, meeting so many others who like me were looking to escape. With every peak there was an even deeper trough, but I still wouldn’t admit to myself that it had gone too far - until I crossed a line I never thought I would. Sobriety has been the hardest thing I’ve ever done. It is a daily process where I’m constantly 23
learning about myself. Music has always been cathartic for me, and has been how I’ve freely expressed my story. Now I want to share a story of hope. You can fly into the dark and make it back again. The harsh reality is that those who are unsure how to identify their sexuality are five times more likely to have substance abuse issues than those who identify as heterosexual (Healthline); but the issues lie much deeper than any label. I’m still looking for a solution to feeling unwanted, unloved and unsuccessful, but I’ve realised everyone is. Although society told me that rejection was natural and shame is normal, I’ve learned not to accept that. I choose to love myself. All of the answers were right in front of me. Photography by Alex Evans (Flower Up)
THE ORIELLES One of the north’s most exciting young bands of recent years, and the chance to interview them was one we simply couldn’t pass up. We sat down with drummer Sid to chat labels, surrealist films and their upcoming second album. 24
Halifax certainly isn’t the first place you’d think of when someone says, “northern creative hub”. Your mind would probably spring to Leeds, Manchester or Liverpool first, but overlooking smaller northern towns for their creative potential is precisely what The Orielles are trying to challenge, simply by existing. Halifax born and bred, they often had to travel to nearby Leeds or Sheffield to play gigs, which had its benefits and drawbacks. Coming from a small town, drummer Sid notes it was easier for them to come up as a fledgling band. “It was so small so it was easy to get a little bit of recognition,” she says. “There wasn’t too much competition.” However, Halifax isn’t necessarily as interesting to media outlets as its neighbouring cities, so it was difficult to then take The Orielles to the necessary next level. “With it being a small town, blogs and radio don’t really pay much attention to small places like that, especially northern towns. It was definitely difficult initially finding our feet. We had to spread our wings – the scene was non-existent in Halifax when we started.”
musicians. In an age where festivals are still struggling to bring a gender balance to their line-ups, Herfest aims to shine a light on the talent that can be found outside of the straight cis white male lens.
Now a few years down the line in their musical career, The Orielles show no signs of slowing down. With a fantastic reception to their first album Silver Dollar Moment, the band are back in the studio and readying their sophomore release. “We grew at a very natural pace,” Sid reflects. “It wasn’t like we were thrown in at the deep end at any point. It’s never seemed too soon or anything. We’ve just waited until it was the right time to do something to make it more worthwhile.” Like headlining CPWM’s very own Herfest, an event which celebrates and platforms female-identifying
Sid notes that, as a drummer who happens to identify as a woman, she has received a lot of comments while playing that she’s “so good for a woman”. Similarly, reviewers typically focused on the band’s young age when they started out, qualifying their talent with their age. “It’s like the gender thing. It was like, this is such a good album for people who are in their late teens, early twenties. When would that stop becoming a thing?” Admittedly, The Orielles were remarkably young when they first started, with guitarist Henry Carlyle being well below eighteen, making it difficult to get gigs at
Words by Jemima Skala
“REVIEWS WOULD ALWAYS PUT OUR AGE AT THE FOREFRONT OF ANY REVIEW ITSELF” While these events provide a welcome break from the standard festival line-ups, Sid says that the music media’s fixation on ‘female-fronted’ as a categorisation is tiring. “It’s a really tricky one,” she says. “We’ve been lumped in that category a little bit: femalefronted. I don’t really see the point in it. When will there be a day when it can just be a band rather than the gender in front of it? ... We never thought mixed-gendered bands would become such a label.”
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venues that were 18+. “There’s more young bands coming out now, so people seem to not really focus as much on people’s age anymore,” Sid notes. “It seemed to be such a big thing when we were coming up. Reviews would always put our age at the forefront of any review itself. I remember when we first got a little mention in the NME, it said something ridiculous like, ‘a combined age of 12 years old’. And we were like: right, cool.” Their second album, then, would seem to be shaping up to be a bit of a middle finger up to those who underestimated them the first time around. “It’s certainly way more mature, if that isn’t too cocky to say.” Hardly. Incorporating more influences from the movies, building on songs like ‘Let Your Dogtooth Grow’, Sid reveals a very particular song writing method that they used to have to weave in lyricist Esme’s movie obsession. “We don’t do it as much anymore, but we used to put on a weird scene from a weird film and just put it on loop on a projector in our practice room. We’d all look at that and play to that, then what would come out would almost be like a soundtrack. We’d adapt it into a pop song and put lyrics in it.” In short, whatever you thought you knew about The Orielles, you don’t. There’s a lot more to them than meets the eye and underestimating them can only disappoint. They are proof that by working steadily and blocking out the background noise, you can get where you’re meant to be. More power to them. The second album "Disco Volador" is out on Heavenly Recordings on Friday 28th February 2020. Photography by Andrew Benge
ZUZU Hailing from Mossley Hill in Liverpool, naturally, Zuzu is in tune with the Merseybeat of her hometown. Like most Scousers she’s an eccentric character, a Liverpudlian first, a musician second, a cat mum to - Jean Paul and Edgar - third. 26
She sits opposite me in her dressing room, prior to the Ten Tonnes show. Relaxed and assured in her loud glittery pink suit, her expressions curious, she immediately strikes me as a person that takes no shit. “Yes, Zuzu is me name. Me mum and dad call me Zuzu, me brother and me sister, me aunties, me uncles. It comes from me mum and dad’s favourite film It’s A Wonderful Life, the little girl in that is called Zuzu, so that’s what they decided to name me.” Zuzu Stranack has been writing songs since the age of 7 and began to take music seriously in her early teens. “I started off pretty young, I was only 14. We moved to Oxford when I was 13, and that was weird mate. I was like hang on, what’s going on here. I talk like a mad head do you know what I mean? But nah it was good, in the end I learnt a lot and it was at this time in my life that I started to get serious about singing and playing guitar.”
This phrase seems to be a trademark in Zuzu’s vocabulary.
“NOW I’M OLDER I’M LIKE YOU KNOW WHAT, I’M GONNA TAKE A BIT OF DIANA ROSS AND I’M GOING TO EMBRACE THAT.” “I make sure to work with a lot of women, my managers a woman and a bunch of the people that work on my label are women. I’m really lucky in that I’ve got a label and management that, for the first time in my career, wanna listen and back me.” Zuzu is signed to Virgin Records, but still works in her studio alongside guitarist, producer and best friend Kurran Karbal.
“I’ve been playing with Kurran (aka Munkeyjunky) for like 7 years, we started the label Monkey Heaven Recordings together. In By 18, she had signed a this industry, it really helps record deal and began to work alongside my best recording from her own self- friend. He plays with me built studio in Liverpool. unless he has his own gigs. The rest of the band “At the beginning of my changes and although I know career I was a lot more all the musicians that I work clueless than I am now. with, I prefer to have one Obviously, there’s sexism in constant.” the world, do you know what I mean? It’s not just in music, Zuzu encapsulates a lot it’s in everything. I’m sure of what it means to be a you’ve had your fair share young creative today, with of it. Nowadays, I just take a number of passions that no shit, do you know what I intertwine with her music mean?” and as an avid sci-fi fan, comic books and cartoon 27
fan, her songwriting is full of unique references. “I’ve always been really into film, directing, animation and illustration. So I guess when the time came to start doing aesthetic stuff to couple with my music, that’s when I started to get heavily inspired by all of the other influences in my life. I did the artwork for my first few singles and I’m heavily involved with shooting me videos. I’ve got something really exciting in the pipeline. We went to Cartoon Network in LA and it was the best day of my life, it’s honestly a dream. We’re working on something at the moment, I can’t give anymore away than that.” she teases. Fans have likened Zuzu to Courtney Barnett, but her charm is definitely her own. Her sound comprises a unique combination of 60s licks, catchy hooks and grungy 90s sounds while maintaining a familial Britpop beat, her unmissable accent soaring heartily through her music. “I listen to a lot of music, but one of my greatest musical influences is probably Diana Ross. Look, I’ve got her tattooed on my arm.” Zuzu pulls her arm from her sparkly sleeve and reveals a beautiful tattoo of Diana Ross’s face and we grumble over Glastonbury. “Going to Glasto next year would be me dream. Everyone keeps sending me these links going ‘have you seen Diana Ross is playing!!!’ and I’m like yeah
well, I haven’t seen my date in there yet, and until then, I’m not happy about it” she jokes.
I’m trying to embrace that within my songwriting.” Zuzu’s career has already picked up massively this year. She supported the “I just think the way she Courteeners, then went on performs is so encapsulating to complete her own string and she has such a unique of headline shows. Following tone, I was drawn to that this she was invited by Ten from a really young age. Tonnes to support his UK She’s so glam and it just tour, and has an upcoming felt a million miles away show with Catfish and the from what I could be. Now Bottlemen. I’m older I’m like you know what, I’m gonna take a bit “The little run of headline of Diana Ross and I’m going shows I did were probably to embrace that. She’s the some of my favourite shows OG Diva, do you know what I I’ve ever played. It’s the first mean? I’m trying to get a bit time I’ve done a headline of that spirit in me. I think it’s show, they sold out and important to remember that people actually came to see you can take things from all me and sing me songs. It different types of music, were mad. I still can’t get me that’s something I’ve learnt head round it.” she says in as I’ve gotten older and reminiscence. Words by Sophie Okonkwo
“I like your jacket by the way, me and Kurran are always after fun stuff like that to wear.” she says in her homely accent, smiling at my cream coloured jacket which is covered in sunflowers. It’s the second date of the Ten Tonnes tour and time is drawing towards her set, so we round up our conversation. As a sci-fi fan, I’m sure Zuzu is excited for the future. The new single "What You Want" is out now.
Photography by Andrew Benge
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5 QUESTIONS
PHOBOPHOBES WHO ARE YOU?
Six weary men from the depths of south London's debauched vortexes, finding a small piece of solace in the music we make together. Jamie, Chris, Elliot, Jack, Bede and Nathan are our names. We all have our own obsessions which inevitably seep into the sounds we make.
WHAT DO YOU DO?
We do deranged and uplifting stomp pop that will probably make you wonder if someone's put something in your orange juice.
WHY DO YOU DO IT?
Because we are compelled to do so. This is all we know. Whether we like it or not. It's like we've been brainwashed somewhere down the line. We're programmed to do this. The conditioning is strong and the destination is
unimportant. The fact we're here doing it is what matters.
WHAT’S HAPPENING NOW?
We've just finished a UK tour rolling out a set of new songs featured on our second album (due for release next year on Ra-Ra Rok Records) which we recorded with Youth at his studio in Andalusia. In the meantime, we just released a AA side Moustache Mike/Blind Muscle which is available now. We just backed up Can front man Damo Suzuki at his most recent show at the Windmill Brixton, fulfilling many of our deepest desires all at the same time. We put on a party to celebrate Blind Muscle being out in the world back in October at Werkhaus in London. It was a sweaty one. Our friends Deep Tan and that unholy Sweat also played, plus we had PIXX spinning some records too. If you weren't there 29
you really missed a treat, but we'll be back on the road early next year promoting the release of the new record, so make sure you come party with us then!
WHAT’S THE HOT TOPIC?
Well not only are we leaving the EU but the arts are slowly being taken out of state school education and starved of funding in this country. We could soon be in a situation where bands of a certain level won't be able to afford to tour European countries because of visa restrictions. And then the idea of music, art, design, theatre being extracted from school curriculums for not being essential subjects is a real sadness. But the DIY mentality is strong within music today and people will always find a way to do what they've got to do. If we can make it this far, surely anybody can. Photography by Andrew Benge
5 QUESTIONS
RUTHIE WHO ARE YOU?
I’m Naomi, a slightly smaller than average country music fan who writes and performs sad songs under the name Ruthie.
WHAT DO YOU DO?
By day, I’m a librarian. By night, I’m a librarian who watches telly on the sofa.
WHY DO YOU DO IT?
For me, writing songs is a way of getting feelings or situations out of my head and onto paper where they can’t touch me anymore. It’s a strange kind of alchemy but it works for me, and I think that even if I wasn’t in a band I’d still be writing songs, and I’d still want people to hear them. The horrible paradox about being a musician is that you write songs because you’re so desperate for someone to hear how you feel, but then as soon as they’re out in the world
they stop being a part of you, and you move on to the next thing to feel terrible about.
songs coming out from that, and I’ll be playing some gigs around the country in the next months.
“I’M INTERESTED IN CONVERSATIONS ABOUT HOW MUSIC IS SOMETHING OSTENSIBLY FREE AND ACCESSIBLE IN ITS PUREST FORM”
The crazy thing about the world right now is that everything is going so smoothly that there really aren’t any big issues or hot topics to get worked up about. I feel brilliant about it.
I perform because it’s fun. I’m a librarian because I am an embarrassing person who loves books.
WHAT’S HAPPENING NOW?
I’ve just released The Tide, the first single from my debut EP, Universal Heartbreak Now, out Nov 22nd. I’ve got some more 30
WHAT’S THE HOT TOPIC?
For realsies though, I’m interested in conversations about how music is something ostensibly free and accessible in its purest form, but has become a hugely valuable commodity under capitalism. I don’t know how a musician is supposed to square those two things, but I’d like to find out. The EP ‘Universal Heartbreak Now’ is out 22nd November.
Photography by Felicity Griffiths
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COME PL AY WITH T HE ORIEL L ES K.FL AY PUMAROSA ZUZU PHOBOPHOBES VA U G H A N AND LOTS MORE... BEHIND THE SCENES AND UNDER THE SKIN OF ALL THINGS MUSIC
PICK ME UP FOR FREE OR BUY ONLINE / #006 / OCT2019
