LICKS Magazine - Issue 1

ISSUE 1

TASTE IN MUSIC

LAU R A N HIBBERD THE BOTS • TALK SHOW • KID KAPICHI • MERON T

£4 / $6

LICKS MAGAZINE

ISSUE 1 LETTER FROM THE EDITOR Welcome to LICKS. Whether it’s a heartfelt ballad reaching you in a moment of isolation, or the tongue-in-cheek track which conjures a wry smile, now more than ever music serves as a constant and beloved friend to guide us through these difficult times.

2020 saw artists being forced from the stage and retreating to makeshift home studios. But while the contagious energy of live music has left a huge gap, we’ve once again seen this defiant community persevering to create, and not being shaken and shaped by external pressures.

For me, the most inspirational of all are those underground and independent artists. Despite watching year-long tours and seemingly once-in-a-lifetime opportunities disappear, countless numbers of these artists have not let this year dampen their creativity. This magazine is dedicated to them.

LICKS is a celebration of all things new music. Our team has worked tirelessly to create a new spotlight for the most exciting emerging and independent artists, and we are delighted to share with you interviews with the very best from post-punk and grime, to bedroom, slacker and K-pop, who fill these pages with a slice of much-needed optimism.

It’s not just artists though, that have put in the hard graft in the face of adversity this year. We have also taken the opportunity to highlight three causes close to our hearts: the MVT’s Save Our Venues campaign, Music Declares Emergency, and Black Lives Matter UK. Their relentless effort in keeping creative spaces open, raising awareness of the devastating impact of climate change, and fighting social injustice, is extremely important so please take some time to learn about, and support, their great work.

So, on behalf of our team and contributors, welcome to the inaugural issue of LICKS and thanks for joining us on the first step of our journey into print. Some of our favourite acts of the moment are scattered through these pages, and while we will see you again in the spring, we’ll continue to keep the website and social feeds up to date with the best in new music to tide you over until then.

Jack Parker Editor-In-Chief

LICKS TEAM CHIEF-EXECUTIVE-OFFICER

EDITOR-IN-CHIEF

WRITERS

Jacqueline Scripps

Jack Parker

Callum Crowe Charlie Ashcroft Dan Flood Frankie Francis Jack Parker Jenny McDowell-Langford Katie Hubbard Laurence Kelly Lily Blakeney-Edwards Shell Zenner

BUSINESS DIRECTOR

EDITOR

Richard Hannan

Dan Flood

ART DIRECTION & DESIGN

CONTRIBUTORS

Meghan Weale

Aaron Watts Tallulah Webb Will Gray

COVER PHOTOS

Hannah Driscoll

LICKSMag.com | LICKSMag@gmail.com | @LICKSMag LICKS Magazine is published by Select Music Group, LLC. and is governed by the State Law of Travis County, Texas, USA. All rights reserved.

All material copyright © 2021. This publication cannot be reproduced or sold in any form, whole or part, without the express permission of LICKS Magazine.

Amazing Radio is where talent gets noticed so we asked three of their finest DJs to share their top songs of 2020.

PORRIDGE RADIO - ‘GIVE / TAKE’ This Brighton based band had a pretty great 2020 which saw their second album get nominated for the Mercury Music Prize. Every Bad is a timeless Indie record that I have enjoyed and revisited many times this year. The song itself is pretty simple, repetitive bass line, drums and vocals but I find it so hypnotic, as the anguish in Dana Margolin’s vocal line increases as the track plays out until its sudden end.

FRA NKI E FRAN CIS ARLO PARKS - ‘GREEN EYES’ We recognised Arlo back in 2019 as someone who was going to have a great year in 2020.

She did not disappoint with a steady string of excellent singles showing off her modern soul style. She also managed to emerge from 2020 as one of the biggest British artists leaving us all hanging for her debut album which is due to drop in February along with a UK/Euro and world tour.

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WORKING MEN’S CLUB - ‘VALLEYS’ The jury was out for Working Men’s Club when founder member Julia Bardo left the group, and they were forced to change the line-up.

However, shortly after they signed to Heavenly Recordings they never looked back. By the time Teeth was released an album sound was starting to emerge. I wasn’t quite prepared for how good this album would be. On this track you can hear it all, Acid House, William Onyebor and, of course, New Order.

In support, for the first time I got to witness the raw explosive energy of Hebden Bridge band The Lounge Society, their debut single Generation Game hit me between the ears with its edgy lyricism and thunderous guitars and I just knew straight away they were destined for big things.

PORIJ - ‘150’

S H E LL ZE N N E R THE LOUNGE SOCIETY - ‘GENERATION GAME’ First up, I’ve been a massive fan of the Calder Valley in West Yorkshire, England, for as long as I remember, it draws you in completely.

The rolling hills, the free spirits and the towns and villages dripping with creativity. I’ve followed the journeys of local bands The Orielles, The Goa Express and Working Mens Club since their early days and back in February I got to witness the latter playing live at Hebden Trades Club.

If you were looking for the perfect antidote to all that madness, you could totally drink in 150

by Porij and imagine you’re at Café Mambo in Ibiza watching the sunset. The Manchester four piece are fresh, fun and completely infectious, debut mixtape Breakfast is a super satisfying jaunt through a poptastic world laced with funk, trance and rave.

KINKAI & CHILDREN OF ZEUS – ‘TOP DOWN’ Finally, imagine a slick convertible, chilling out, maxin’ and relaxing, the smoothest grooves on the stereo. The exact scene that Kinkai & Children Of Zeus wanted us to visualise on their collaboration Top Down, a shimmering slice of perfect lockdown escapism!

ALFIE TEMPLEMAN – ‘OBVIOUS GUY’

CH A R L I E AS H CROFT BUDDIE - ‘HEARTBEAT’ Philadelphia gang Buddie unleashed an incredible record called Diving back in early August. While it’s hard to choose a favourite track, Heartbeat stands out for its chugging power-pop riffs, Weezer-esque harmonies and undiluted charm. One of those songs which leads you to suddenly want to go and check out everything the band in question have ever recorded. I guess what I’m trying to say is, Buddie are a joy to behold.

Given that he’s still a teenager, Alfie has an impressive arsenal of indie megahits, which makes you feel like the next 12 months are his for the taking. Obvious Guy is a hook-laden jam of epic proportions, with dancefloor-friendly percussion and a ridiculously catchy chorus.

The whole Happiness In Liquid Form EP is brilliant, but this song was very much a mainstay of my playlists and lockdown listening in recent times.

TAME IMPALA – ‘LOST IN YESTERDAY’ Kevin Parker and co lit up the winter months (and early spring) with this highlight from the much-lauded album The Slow Rush. A perfect collision of psych, funk and pop, with vocal hooks aplenty. It’s one of those tracks I’ve kept returning to throughout the year, with the line “back when we used to get on it, four out of seven”, recalling a time when the casual act of going out socialising and getting intoxicated was far from the alien, carefully planned process that it sadly is now.

WHERE TALENT GETS NOTICED

amazing.radio LICKS MAGAZINE

Harrison Swann, singer/guitarist for poetic punk powerhouse Talk Show, talks us through a year-in-the-life and what’s next for the group.

How are you getting on Harrison?

“I’m good, mate. I’ve been in the studio with House DJ, Eli Brown, which has been really exciting. We’ve been working on a few house-style tracks together, channelling the Chemical Brothers. Trying to blow the mic off its hinges.

I’ve collaborated with others before but not in this way. It’s been a lot of fun.”

Sounds like some exciting and positive things have come out of your 2020?

“Yeah, it was gutting to miss out the touring plans we had, because we had some big shows lined up. But I said to myself, ‘use this time wisely and crack on with writing new tracks’. So, I’ve spent a year tracking vocals in my washing room cupboard, crammed in with the dryer, a load of egg boxes and pillows on the walls. Could be the best vocal booth I have ever been in.”

I was at your 100 Club show back in September. How was it playing a socially distanced gig?

“I loved every second of it.

I was nervous about it, as it was going to be different, but I wasn’t bothered about it being seated in the end. I’ve played worse shows, to fewer people. At the end of the day, if you can’t motivate your audience just because they’re sat down, that probably says more about you as a performer than anything else.”

You can tell everyone was loving seeing you on stage again, in such an iconic venue.

“We could feel the love. Fucking hell, who do I sound like?

John Lennon or something?

But it was a show that felt like it gave us some hope that music can still work, live and in person. We are not just left living in a world of Spotify playlists.”

Words by Jack Parker

Can you tell us about the new music, what’s the approach been?

“It’s been mad exciting. The whole ‘let’s just write some fucking tunes’. There’s no consideration for all that unimportant information that comes around the release and selling it. No need to start drowning in all the dogma and the wording until you hit a swamp of shit ideas. No nonsense. ” What can we expect from the new Talk Show Tracks?

“It feels like a progression but it’s still quintessentially us: exciting, rock and roll music.

It sounds cliché but that’s what we want to write. The mood in camp is really exciting, and we’re itching to get out the blocks.” •

Photo by Ryan Casey

Expect no nonsense new music from Talk Show coming very soon.

It’s 2015 and The Bots’ jagged, indie rock sound is earning plaudits from the likes of Rolling Stone, The New York Times and NPR. Fast forward past a five-year hiatus and the band are back, signing a deal with Big Indie Records and fresh off recording a new album with Grammy award-winning producer Adrian Quesada.

LICKS writer Laurence Kelly sat down with frontman Mikaiah Lei to talk new material, rubbing shoulders with rock-royalty, and flying Chinese wizard dragons.

Let’s talk about your new album. Where are you at?

“We tracked the album in early September — the whole thing took sixteen days. It’s always nice to work on something indefinitely, but to have that kind of good pressure was refreshing.

“We also put together a mini-documentary on the making of the album. It focusses on my lifestyle, especially my love of skating. It also features Robbie Krieger, from The Doors, who talks through the unreleased track we wrote together.”

Did the tracks change much in the studio?

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“The demos were more or less fully fleshed out — the recordings are pretty much just better versions of them, with more lavish instrumentation and some experimental techniques. There’s also a lot of rich harmonies and vocal overdubbing, giving it that ‘big band’ sound from just two people.”

Did you have live music in mind when writing the album?

“We just wanted to create a great sounding album. A fun, indie rock, rock ’n’ roll, alternative record. In the band’s earlier days, we wanted to create a sound similar to how we play live — screaming

down the mic, going crazy.

Since then I’ve matured in my songwriting. And I can’t scream for an hour anymore.”

You’ve been a part of the LA scene for a number of years now. How has it changed over this time?

“It’s been an amazing change.

I mean, it’s always changing but seems like the last few years have seen exponential growth and the acceptance of more genres. There are some great fusions of less expected artists creating music together — like Elton John was on a Gorillaz album recently. People seem more receptive to guitars in hip hop

too. When I was growing up, everything was pretty cliquebased. If you were the ‘rocker kid’ you hung out with the other ‘rocker kids’. You couldn’t tell your friends that you liked dope beats — you just had to pick a side. Now things are different — Old Town Road happened. Things like that.”

Now things are different —

Old Town Road happened.

Sounds like a great time to release new material.

“I feel like it’s the best time to make music. They’re constantly releasing new plug-ins and sound packs for artists who work that way. It’s now just about how much time you have.”

You’ve played with some incredible artists — The 1975, Yeah Yeah Yeahs and Damon Albarn to name a few. What are your most memorable moments?

“Blur did a reunion show in the UK and hosted an afterparty.

Damon came up to me and he’s vibing. He’s a drinker too.

He gave me some great advice about maintaining longevity while nurturing my inner drive.

He said a bunch of really nice, smart and kind of blunt things about sticking to your guns and knowing what it is you want to represent.

“Does it have to be a real animal? My mind went to a unicorn but that’s a child’s answer. I don’t know. A dragon? Something powerful and mythical and untouchable. Like some flying Chinese wizard dragon.”

“Another fun moment was at a Converse event in Barcelona.

We played with the Black Lips and a bunch of other bands. I got buddy with Cole, the guitarist, and we started talking guitars and other things. He’s a vintage guitar guy himself and was playing some kind of weird Squier. I love those moments on the road — learning from one another like ‘here’s my secret synthesiser’. I also have to mention working with Nick Zinner on a previous record. He taught me so much about writing riffs and making something simple sound full. Yeah Yeah Yeahs were a huge influence growing up — just the way he uses pedals and works with space.”

“Yeah, right? Everyone needs a little dragon in their life — you never know what you’re missing until you get the dragon.” •

Here’s one out of left field.

Joe Biden is about to become your new President. If you could create your own political party, what mascot would you go for?

Words by Laurence Kelly

I’d vote for that.

New music from The Bots is arriving in March 2021, with their second album out in the summer.

MIKAIAH’S ONES TO WATCH

✰ Dancing Tongues ✰ M3cca ✰ Smoke Season ✰ Sweet Pill ✰ Stop Thought ✰ Trash Talk ✰ Yip Yops

Photos by Jacqueline Scripps

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LAU R AN AN HI BB E RD Slacker-pop, as a subgenre, was a new one for me. But enter Lauran Hibberd - the slack queen of the Isle of Wight. Turning heads with her brand of tonguefirmly-in-cheek, punk-tinged pop, Lauran’s tunes draw from a healthy palette of sarcasm, awkwardness and self-deprecation to paint a filter-free picture of love, life, and less than romcom-ready experiences.

An abundance of the noughties nostalgia of female-fronted guitar-driven pop, complete with the full flares and scrunchie get-up, has met the sex-positive, give-a-fuck backdrop of 2020, helping thrust the likes of Lauran, Baby Queen, and Beabadoobe into playlists spanning far, far wider than the 2002 SMTV Live demographic.

I caught up with Lauran to talk Old Nudes, new tunes, the infamous Insta confessional and what’s coming next.

ON THE BEGINNING. “I didn’t pick up a guitar until I was 14. I figured I wasn’t a terrible singer and married the two. I spent two years at music college, coming out at 18 with a certificate in hand, thinking ‘right that’s it I’ve got a career’. I forgot about the raging gap between being handed a BTEC and making it a living. I spent the next two years figuring that out, so I was 20 before I sat and put the effort into making something of my music.

“I was playing around the pubs, anywhere that would have me really, and quickly realised it just wasn’t going anywhere. The Isle of Wight isn’t a big place, so I started reaching out to artists I liked from Southampton, Portsmouth, making friends and playing support slots.

I eventually ransacked a manager – he was looking after Eliza and The Bear at the time, and in pestering him about tour support we got to talking and just had the same outlook.

I probably spend 85% of my life convincing myself I’m not just a girl singing in her bedroom that will never make it, there’s so much self-confidence you need, but with building a team came that reassurance.”

ON THE EARLY TUNES. “I always cringe. Despite the Avril obsession, my first song was called Better Days and it was genuinely just about wanting everyone to always be happy. So wholesome. So naïve. It’s probably still my mum’s favourite song. Maybe we can blame that for driving me to write the songs I sing now?

“I was at music college, listening to a lot of Weezer, surrounded by Alex Turner wannabes in leather jackets, so I guess I fell for that a bit – I wanted to be like those guys. I experimented with punk and discovered this happy medium with the indie-pop, slacker-rock type sound.”

ON GIVE-A-FUCK SLACKER-POP. “So I didn’t invent this phrase, someone said it about me one day and it’s just kind of stuck.

Now every blog in the universe has gone with it and I’ve decided I quite like it. Think pop music for teenage girls with purple hair, the kids that thought they were alt but weren’t really. Like if you don’t want to listen to Ariana Grande, but you don’t like Elbow, you might

on your guitar. It ended up a real opportunity to sink my teeth into songwriting properly. I wanted 100 songs to choose from for an album, which seems obscene.

“I’ve listened to a lot of Pheobe Bridgers, ‘Punisher’. Great, but depressing. If you put it on around lunchtime you’re in for a shit afternoon. A lot of Weezer, Greenday, Smashing Pumpkins, almost studying them really. A lot of Beabadoobee, the 10 Things I Hate About You soundtrack.

just find me. It’s just pop music, but lazier, with grunge influences and taboo writing subjects.

“It’s funny because I bet we absolutely all give so much of a fuck. You have to love the irony of it all. My biggest art is looking like I don’t give a fuck – when I really give the biggest fuck of all. I think everything comes full circle, and the 90s seemed a care-free time. Now we’re dying for that.

You see artists like Beabadoobe breaking through in a big way, and shoving it into the mainstream, and giving the kids a chance to experience the 90s vibe.”

ON 2020.

“Terrible. We’ve all had a shit time. It hit me hard as I was meant to be flying out to Texas for SXSW. A big year just disappeared in front of me. I fell into sitting in bed getting slowly fatter, until one day I said enough is enough, get over it and get on with it. Write a song every day. Work

“But really it’s been one massive fucking identity crisis. When you’re left on your own with nothing but your thoughts - it’s fucking dangerous. Social media has been a big one. I’ve managed to find a balance where I’m not obsessed with it anymore.

So many people sit at home looking at other people’s lives, and it’s a rubbish feeling. So I’ll sit and post videos of me crying at the LOST finale, I don’t want to fake this image of someone on the up. It’s not honest, or me.”

ON INSTAGRAM CONFESSIONALS. “So when I released my single Old Nudes, I did this confession thing on my Instagram. I dressed as a nun and read peoples’ nudes stories out, and blew a candle out. Cathartic. There were a lot of submissions, and my own for good measure.

I wanted to do the same for Boy Bye with the worst breakup stories. I thought they’d be funnier than they were. Being left in the middle of ASDA while he drives off with your food. A surprising amount of mid-sex breakups. Was it that bad? Do you carry on? Either way it made me feel better about my own stuff.

“Pretty much all of my songs are about shit that’s happened to me, just taking

“My biggest art is looking like I don’t give a fuck – when I really give the biggest fuck of all.”

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“I was at music college, surrounded by Alex Turner wannabes in leather jackets, so I guess I fell for that” traumas and turning them into a joke.

A coping mechanism, surely. You take a song like Old Nudes that’s all funny, but really it’s bumping into someone who knows everything about you and being fuming they’ve seen you with no clothes on. It’s just called burying your problems, I’ve got shovels for everyone.”

that it’d need to. I tripped over my lead once in Amsterdam. It wasn’t small. I was smashing some new moves and wrapped the lead around my leg and full on faceplanted. Everyone had to stop. It was only song two. And in the old days I’d momentarily just forget how to play guitar, like sorry guys we’re just waiting on my muscle memory. So, come for the tunes but stay for the laughs. That’s all I’ve got. That and IBS.” •

ON THE ALBUM. “We’re due to start recording early this year – so naturally I’ve been arguing about the tracklist with anyone that will listen. I was quite experimental with my lockdown writing, so I think what you’ll get is a 180 degree view of my weird dreams. I guess I’ve tried to mould a sort of coming-of-age soundtrack that’s some way in between Juno and an EastEnders finale.

With the EP landing in Spring, and an album to follow, you’ll be hearing plenty about Lauran this year. The next single, How Am I Still Alive, is out in February 2021.

Words by Dan Flood Photos by Hannah Driscoll

“There’s the EP, it’s out in spring so I’ve been deep in artwork and moodboards – I think my biggest problem is the million pound budget in my imagination – always squishing my grand visions into reality.”

ON GIGS RETURNING. “I’ve got this theory that I’m just going to be on stage looking at everyone wishing I could be sat down, and they’re going to be sat looking up at me wishing they could be stood up, for now. It’s going to be good, I hope. Or I might be awful now you never know. I might have lost it. Be embarrassing for you, you’re putting me on the cover.

“I’ve probably used up all my stage banter on this call. I seem to try and squeeze a comedy routine between each song, it doesn’t always land. Not LAURAN HIBBERD

ONE OF THE MOST INTERESTING NEW ARTISTS COMING OUT OF SOUTH LONDON TALKS ABOUT THE UNDERGROUND SCENE, MUSICAL HERITAGE AND HER BIGGEST INFLUENCES.

How did you start singing and who inspired you?

“I’ve naturally gravitated to music since I was young, it’s always been a huge part of my identity. I grew up listening to Aaliyah, she was a huge inspiration, then my teens were shaped by artists like Lauryn Hill. Discovering D’Angelo and delving into his work was a big moment. He equipped me with the importance of harmonies. All of these artists have left an imprint on my sound. It is really varied though, like my sister grew up listening to indie music so artists like Warpaint and The Strokes have also played a part in my musical journey, they pushed me to pick up the guitar.”

Did the two years you spent in Spain influence your music?

“I learned Spanish, so I use it a bit when I’m freestyling. I can’t do it all the time otherwise it just comes out as gibLICKS MAGAZINE LICKS MAGAZINE

berish. I discovered Rosalia while living in Madrid. Hearing her vocal abilities really inspired me to take things more seriously. Even listening to flamenco music has encouraged me to use more Spanish sounds, which has made my melodies peculiar.

You’ll also hear my Ethiopian heritage, like the vibrato they use in their voices.

That’s seeped into my style.”

What do you think of the music coming out of South London?

“There’s a lot going on underground. Sometimes, you don’t realise how many great creative people are on your doorstep. We’re so used to running around London, going to East and Central London for shows.

It feels like South London creates the music then takes it out of the area. Projects like See Our 7, who worked on a recent campaign with Timberland and Loyle Carner

to build more green spaces in London, show that you don’t have to leave places like Croydon to find a home for your music.”

What can we expect from you in 2021?

“I’m sitting on a lot of music right now. Releasing can be difficult, packaging everything up when I’m working on so many different projects with their own sounds.

This is why the Soundcloud days were better! You didn’t think about the release, you just stuck it out there. But the songs that are meant to come out will come out.

They will reach your ears.” • Meron T will be reaching your ears this February with new tracks, ‘Dailyy’ & ‘Crazy Out Of Love’.

Words by Jack Parker Photo

by Aaron Hettey LICKS MAGAZINE

KID KAPICHI WELCOME TO HASTINGs

Hastings based post-punks Kid Kapichi have had a productive 2020. With a busy tour schedule cut short as the pandemic hit, the group hunkered down in the South East to write, record and produce debut album This Time Next Year.

Ahead of the new record’s release in February 2021, LICKS writer Katie Hubbard caught up with guitarist and co-vocalist, Ben Beetham, to get his thoughts on the upcoming album, politics in music and his beloved hometown.

“This Time Next Year feels like both the end, and the beginning, of a long journey, two different journeys” reflects Ben, “but we’re like really, really excited to have it. I think the whole way it came about only adds to that feeling. At the beginning of COVID, we recorded a few tracks that we were sort of happy with and were like ‘What are we gonna do now?’ So we took it upon us to just record it ourselves.”

The challenge of self-producing the debut came as a welcome opportunity; “it’s something we talked about for a while before going let’s just do it. We had no choice but figured maybe this forced situation could end up being really good. We started recording the stuff and man it just really took on a life of its own now we were able to mix it ourselves.

When you all do it, with that same kind of sonic image in

your head as a band, we were able to put that down” Ben beams, “it was great man.

“The thing we wanted to get across on this album, and our production, is to give the live experience that we feel we’ve been giving all these years.

That’s not to say it’s rawas, like all those Evil Empire, Rage Against the Machine and stuff where it’s literally just like them in a rehearsal room slapping it out. But it’s got that kind of rawness to it, just finer produced. We really wanted to give people the proper Kapichi experience.”

There’s no question that the pandemic has hit the music industry hard, and the Kid Kapichi boys are no exception, but that doesn’t mean they didn’t find a silver lining. Ben looks back on having more time, fewer distractions and the creative freedom that came with the downtime.

“It really opened up the door for us that might have

D K AP IC

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“We really wanted to give people the proper Kapichi experience.” remained closed if we hadn’t been forced into the situation. Whilst COVID’s obviously been a massive arse ache, it’s also set us on a slightly different pathway, in some regards, that we might not have been on otherwise. And maybe we’ll look to it and say it was a good thing, just within our very personal sphere, obviously.

“Nowadays, you just don’t get that time” Ben laments; “you’re not getting to develop yourself. You’re always playing catch up. And having this little break, although it’s been detrimental to certain things, it’s also acted like that bracket of time where we’ve been able to set up all the dominoes we can possibly set up so that when the time does come we’re ready, we’re more than ready and we can hit the ground running.”

With references to unenjoyable and difficult jobs littered throughout Kid Kapichi’s back catologue to-date, it’s clear that the band has had more than their fair share of morning-after-the-night-befores gigging. As the pandemic continues to disproportionately hit the working class, with unemployment predicted to rise, the topic draws even closer the group’s hearts.

“It’s very tough to make your living from music, especially when you’re building. And particularly when you’re working independently.

Certainly, with all the bands we know, we’ll be doing gigs and everyone’s like yeah I’ve got work in the morning. We’ve all worked the kind of jobs like washing dishes, working in bars, working on the tools; all those kinds of jobs that are flexible and lend themselves to people who are musical and do artistic things like that.

“And definitely part of the experience of doing music nowadays is working as well. It’s hard because I don’t wanna say, necessarily, that we hate our jobs - I love the people I’ve always worked with and I’ve been really lucky to have the jobs that I’ve had. You gotta have a bit of bread and butter really, it’s shit to be skint all the time and not know where you’re going to get your next job.”

As we veer further into politics, the topic of artists weaving political currents and messages through their tunes arises.

“At the moment, we’re living in very politically charged times. There was probably an LICKS MAGAZINE

KI

KID

“A lot of bands can’t wait to fucking get out of where we’re from and go to London. But we’re like, we love Hastings.” era, prior to our generation, when you had a bit less angry music and bit less politically charged stuff, as it wasn’t the mood of the time where now it really is” muses Ben, hinting that politics in music needn’t be deliberate, but is more of a byproduct of your setting.

“And the truth is, I think, the point that our music started to have that message it didn’t feel like we went ‘right, let’s start writing political music’. When we were teenagers we were writing music about getting hammered, and girls and love, and whatever else because these are the conversations you’re having when you’re a teenager. But then, when you start to grow up a bit and get a bit older, you start to get a bit more understanding of what’s going on around you and then naturally your music becomes a lot like that. I think it’s no surprise that more and more music with political charge is coming out.”

Another major influence for the band is their hometown of Hastings. Their SouthEast roots are extremely important to them, driving the decision not to move before lockLICKS MAGAZINE

down and instead record the album there.

Ben is incredibly enthusiastic about his local area and its burgeoning music scene.

“We love where we’re from man. We really love where we’re from. One of the things that we’ve always tried to make a part of our message is that. A lot of bands can’t wait to fucking get out of where we’re from and go to London. But we’re like, we love Hastings, it’s given us so much musically and the sense of community here is insane.

“Both in and away from music, whenever we have the opportunity to be creative in our hometown we take that opportunity. It’s fair to assume we recorded the album in Hastings because of COVID, but that’s not to say if COVID didn’t exist we wouldn’t have done it anyway.

“The opportunity to create in Hastings was something that we welcomed with open arms because there’s something in the air. Literally, I know that sounds really cheesy but there actually is. Everyone who’s a musician, who’s gone around the world or whatever says it’s

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like nowhere else. There are very few places with the same atmosphere as round here. The creative aspect to our album, whether it’s on the visual side or the music side, we’ll always try and keep it within the community of where we’re from. And again, that’s not a compromise. It’s really cool man, it’s definitely a musically blessed town. It’s the best place in the world I’d say.”

In my head, I’m already booking my train ticket for a post-lockdown trip to Ben’s cited South East musical haven, and Ben only eggs me on with a musical itinerary of his favourite local bands, shouting out Blabbermouth, Jungminds and Hotwax as some of the best. Having made my plans we turned to theirs, the far-side of the album.

“A lot of live sessions online. We’ve got a pavilion show, some socially distanced gigs. We’re just keeping our eye on what’s going on, we’re preparing for gigs, we’re getting ready so that when the time comes, we’re ready to rock, better than we’ve ever been.

“We’ve found a really wicked system of writing, through the album process. We can utilise that to the max now whenever we’ve got downtime and just use this creative vein that we’ve tapped into to carry on creating, and

carry on making ourselves more and more prepared for what’s coming next.

“But, for now, we’ve got this baby that we’re about to release into the world so hopefully everyone likes it, cause I can confirm that we really do!”

It’s timely, it’s rousing, it’s politically charged and it’s downright angry — This Time Next Year is set to be the kick up the ass needed to make 2021 everything 2020 was not. •

Kid Kapichi’s debut album This Time Next Year is out on 5th of February 2021.

Words by Katie Hubbard Photos by Nick Suchak

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KA N IVA Thre e E Ps a n d s eve n mu si c vi de os wou ld ma r k a h u g e ye a r for most a rt i sts, bu t h u n g r y S o u t h Lon don ra ppe r Ka n i va i s ke e p i n g u p t h e mome ntu m i n 2021 .

Which artists inspired you when you first began making music?

“Ghetts was a massive inspiration growing up. His style of lyricism was a massive influence, especially when I had just started rapping.

Him, and Skepta. I listen to a lot of American stuff, so the earlier Kanye work really helped me when I was starting.”

release. Some of the tracks are focused on my glow-up as an artist and the respect I receive now, as opposed to when I first started out.

There’s one track about a failed relationship, which I think a lot of people can relate to, and the last track is really just about my audacity.”

“Music has to be You’ve been praised for your ability to weave stories through your lyrics.

How would you describe your style of rap?

“I would call myself audacious because I basically say anything I want. I think my style of storytelling is just real. I don’t beat around the bush when I speak about subjects. I say everything I need to say. Music has to be a real depiction of your life, otherwise it’s not honest.”

Your new EP is out now.

Can you tell us about it?

“Well, I promised myself that I would release three tapes in 2020, and this is the final

a real depiction of your life, otherwise it’s not honest.”

There’s such a variety of topics there. How would you describe the themes that run throughout the new EP? “I think I was just having fun.

I know I’ve spoken about homelessness and mental health previously, but I don’t want to focus on those topics forever. At the time, I spoke about it because that’s what I was going through. But I’m in a much better place right now, and I want my music

to reflect that. This tape is more upbeat and I’m just enjoying myself on it.”

Where do you want to be this time next year?

“I feel like I’m at the tipping point, that a single record could really skyrocket things. I want to keep building a fanbase and to reach new levels of success. I feel like I’m almost there. That, and still being independent.”• Kaniva’s latest EP is available now with more new music coming in spring 2021.

Words by Lily Blakeney-Edwards Photos by Oulayma Conteh

After a 2020 that no one could have called, we’re wondering what this year could have up its sleeve. We’ve polished our crystal-balls, maxed out our tarot cards and manifested 2021. Here are our predictions.

YEEZY COME, YEEZY GO

Kanye rebounds from a failed POTUS run by starting his own country. Proceeds to lose first election in said country.

LICKS MAGAZINE

DON’T CALL IT A COMEBACK

We’ve got a feeling there’s gonna be a lot of Adele. A lot.

BABY BOOMTOWN

Euphoric scenes at the return of festivals this summer get intense, in tents, to cause huge population issues nine months down the line.

WE’VE GOT A FEVER

Thanks to bands like Home Counties, ‘postpunk cowbell’ gets its own genre on Spotify, taking the UK by storm and leaving chamber psych in the dust.

BEST COLLAB

RODS OUT ON VIDEO

Famed Handbag and Gladragger Rod Stewart goes public with a hair styling at home insta feed, after building up a year of blowdry and home-dye reels.

DARK SIDE OF THE MOON

The seventh LP from Sheffield’s own Arctic Monkeys takes them beyond their Tranquility Base to Mercury, for a dedicated Queen covers album.

CROCODILE

LET’S GO

TEARS

OUTSIDE

Willie J Healey and Jamie T will form a supergroup to craft this summer’s indie anthem.

UK Grime fan Matt Hancock pledges funding for a second James Blake covers EP, in the hopes of better learning how to cry.

Live streams become redundant as venues reopen causing the end of Instagram Live.

Hallelujah!

2021 PREDICTIONS

CALVA LOUI SE SINGER AND GUITARIST JESS EASTWOOD TALKS SCIENCE FICTION, COLLABORATIONS AND NEW MUSIC. What did a year of lockdowns look like for Calva Louise?

“We’ve been recording a lot. All the songs had been written before the pandemic, so it was more a case of how to materialise them. We all live together with Bobby Bentham from Strange Bones, who has a studio here. He will come down and listen to my music, give me advice, and of course I do the same with him.

We push each other to get the best out of ourselves.”

There’s been a real transformation in your sound since your debut Rhinoceros, what was that journey like?

“At the start, it was a challenge just to survive, let alone write, rehearse and pay for our muLICKS MAGAZINE

sic. I would write the songs in virtual silence, so as not to wake up my neighbours, and then perform them at the Roundhouse, showing them to Ben and Alizon. But how do you translate a whisper on a phone, into a song, in just a 2-hour slot? This was when we met Bobby and moved up north. Creating music was no longer painful.

“When making Rhinoceros we signed the deal in February and it had to be finished in April.

We had no songs and had to record it in 10 days. With Belicoso though, I had the time to step back and think about what I could add to it or change. There was no putting limitations on ourselves. I remember Ben said, when I showed him POP(urrí), ‘How the fuck am I gonna play this?’ He spent weeks, every day,

practising, and he did it! That’s the challenge when recreating the sounds I could hear in my mind.”

You recently signed to a new record label, FRKST, which is linked to Johnny Stevens from Highly Suspect. How has it been different working with the label?

“I think this year has been an organic process; when we released POP(urrí) independently, we learnt so much. Having released stuff independently makes stuff so much clearer.

Signing to FRKST, they helped us a lot, but we wanted to show that we knew a bit too, to alleviate the workload. Releasing Trial was really the same process, just much easier, as we had way more people working with us.”

“It’s the hilarious side to the absurdity of life.”

You can hear the cultural influences woven through your songs, which often switch between English and Spanish. How does it all come together?

Trial two years ago, before Belicoso. I remember just being like ‘I understand this!’, even with all the absurdity. There’s things he wrote in his books that are just so bizarre, and I really love that. It’s the hilarious side to the absurdity of life, and just not taking it too seriously.

And of course, thanks to Eugene Ionesco we are called Calva Louise.

“There’s also lots of cinema, especially in the Sci-Fi genre, that inspires us. Dune by David Lynch was a big one that really influenced us.”

“There are two sides to it. We all came from different continents: Ben grew up in New Zealand, Alizon in France and myself in Venezuela, and it has brought together many different influences. On the other side, growing up I was such a fan of British culture. Songs would be sung in English, but I wouldn’t know what they meant, so it was less about the lyrics then the feeling I got. I was told not to write in Spanish, being in an English band, but I thought that that wasn’t who we are. So I said ‘Fuck it. I’m going to write in Spanish, too.”

What’s the news on new music?

Your song Trial draws from Kafka’s famed novels. Do you often draw inspiration from other forms of art?

Words by Callum Crowe Photos by Bobby Bentham

“Well, there’s one Strange Bones album coming as well as our album! We are doing it all simultaneously. We do things together to go further together. Bobby is recording both albums, but I’m not sure yet when we will announce it formally, or when it will be ready!” •

Calva Louise’s latest collaboration with Strange Bones, Nine Lives, is out now.

“I read Kafka when I was in school, and I wrote LICKS MAGAZINE

LICKS MAGAZINE

AS K-POP CONTINUES TO TAKE THE WORLD BY STORM, THE SENSATIONAL LONDON-BASED 4-PIECE KAACHI’S UNIQUE TAKE, AND FORMIDABLE FANDOM, HAS SEEN THEM GO FROM STRENGTH TO STRENGTH. COCO, CHUNSEO, DANI AND NICOLE JOIN US TO DISCUSS A YEAR MAKING WAVES, PLANS FOR 2021 AND TO ANSWER YOUR QUESTIONS.

Last year was a big year for you, what was your highlight of 2020?

How was performing at London’s New Year’s Day parade?

Dani: “It’s so hard to choose but I think I would have to say my favourite moment is when we wrapped the music video for Photo Magic. It was such a special moment and it felt great after months of hard work.”

Dani: “It was absolutely amazing and probably would be number two on my highlights, after the video shoot. The staff and crew were so nice and helpful. It was just a lot of fun.”

Nicole: “The first few times in the recording studio for our songs. It was something brand new for us, and now one of my favourite things to do is definitely recording songs.”

Coco: “There were so many fun and thankful things we did in 2020 so it’s hard to choose.

But I think, for me, the Photo Magic release and the 2020 London parade shooting were my favourite moments!”

Chunseo: “Everyday I spend with KAACHI is very important, but I will always remember the two music videos that we shot. It was such a great experience.”

Nicole: “It was very exciting to have such an incredible opportunity. I had a lot of fun and learned many things from the staff and organisers.”

Chunseo: “It was really exciting because it was our first time to dance and sing Photo Magic for TV.” Coco: “The set was so cute and people were so nice! I really appreciate that they invited us for the parade, and hope to do it again for 2022!”

LICKS MAGAZINE

K AACH I Do you have any New Year’s resolutions?

What are your goals as a group? [ From Lilie Mogensen, Denmark ]

Nicole: “I want to keep making more music, and will exercise more to get my body more toned!”

Coco: “We are working on our next single, which is all secret at the moment, but it will be released soon! Stay tuned.”

Dani: “For me my resolution is to just keep working on myself. Like any person I have flaws, so I just want to take the time to improve myself and my skills.”

Nicole: “I’m hoping we are able to perform for our fans in-person, as with the situation this year there hasn’t been many opportunities to.”

Chunseo: “I want to start doing more live performances. Once the pandemic is over and when we are able to. I can’t wait!”

Coco: “To keep developing in everything I’m working on at the moment: vocal and dance training for KAACHI, studying dance education, keeping healthy, and building up my side project.”

“WE

ARE

WORKING

Chunseo: “To release more songs and videos.

There are so many things that we have prepared for our fans. I really want everyone to see.”

Dani: “I’m excited to be able to work on more music and more projects.”

ON

OUR

NEXT

SINGLE,

W H I C H I S A L L S E C R E T AT T H E M O M E N T, B U T I T W I L L B E R E L E A S E D S O O N ! S TAY T U N E D .”

LICKS MAGAZINE

Is there anything you’d like to say to your fans? [ From Nathasha Inductivo, Philippines ]

Dani: “I just want to thank everyone for their continued support, whether you’ve been here from the beginning, or only recently, we love all of you!”

Nicole: “Quiero agradecer a todos los que nos han apoyado hasta ahora, han sido una gran fuerza que nos ha ayudado a continuar haciendo lo que amamos. Os quiero Uni-K.” Chunseo: “I know it’s been a very difficult year for everyone so I really want to thank everyone that’s been supporting us. It means so much. We are working harder to show you our best! Thank you so much Uni-K! We love you!”

“Sé que ha sido un año muy difícil para todo entonces querría agradecer a todos los que nos han estado apoyando, significa mucho para nosotras, estamos trabajando lo más duro posible para enseñarles todo nuestro potencial! Muchas gracias Uni-K! Os queremos muchísimo.”

Coco: “Thank you so much for all your support and we do hope to meet you in person soon. You are my energy to work harder so please be with us, and let’s make better work together. Keep safe and healthy!”

Coco: “저희 KAACHI를 항상 응원해주셔서 감사드리고 코로나 이후 곧 만날 수 있길 진 심으로 바래요! 여러분은 제가 더 열심히 할 수 있도록 만드는 원동력이니 함께 더 좋은 일들을 만들어가요! 행복한 크리스마스와 함 께 항상 건강하시길 바래요~ 새해 복 많이 받 으세요”

“THERE ARE SO MANY T H I N G S T H AT W E H A V E P R E PA R E D F O R O U R F A N S . I R E A L LY W A N T E V E R Y O N E T O S E E .”

With new music in-the-making and plenty of surprises under-wraps, you’ll be hearing plenty about KAACHI this year as they continue their exciting journey.

Words by Jack Parker

Photos by Hannah Driscoll

BEST

U.K. & I RELAND

IN

TOW N

LICKS MAGAZINE

In partnership with our good friends at distributor CD Baby, Best In Town spotlights promising, regional talent from across the UK and Ireland. Expect to see these faces taking 2021 by storm and extending their local fame to the national stage.

D E N I SE C HA I L A Limerick

THE M AGIC LANT E R N London

Fresh off the back of an incendiary Ireland Music Week performance, and with new single Anseo troubling the charts, this Zambia-born, Irishbred rapper, and her label collective Narolane, are staking their claim for making 2021 theirs.

With exquisite lyrics that aim straight for the chest, The Magic Lantern is a songwriter and composer that lifts the weariest of hearts.

His fourth album is due for release in 2021.

E L L I E D I XON Cambridge Bringing punchy alt-pop bops from her bedroom studio, the gifted 22-year-old has been attracting attention with her ear-worm melodies, smooth flow, witty lyrics and eye-catching visuals.

G OAN DOGS Bristol A decade on the scene, their stunning live shows and self-released material have gained them a loyal following. Now the five-piece are ready to release their long-awaited debut LP, CALL YOUR MUM.

BEST IN TOWN

JOOLS Leicester Named after Mr Holland, Jools proudly demonstrate their stance on socialism, the importance of well being and the need to combat social injustice.

BE VAN Brighton After picking up playing drums at the age of twelve, and the guitar even later, the benevolent artist grew a penchant for ear-catching melodies and lovelorn lyrics by studying everything from jazz and R&B, to 60s pop and world music.

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S CAR LE T T RANDLE Glasgow At the cross over of electronic & avant-pop, Scarlett’s intrepid approach to writing & performing from a place of real honesty is something that sets her aside. Her music is an expression of her self-discovery, something which resonates with her growing fanbase.

S HADE E M US Leicester The 3-piece psych-rock band, whose members are split between Leicester and London, look set to be one of the UK’s most interesting new artists. Their latest single, Clovis, from forthcoming EP Atlantis is a spellbinding, alt-rock trip.

BEST IN TOWN

FU D G E .

Leeds The Yorkshire boys have taken the proverbial bull by the horns and steered it right through a heavy rock, punk and indie china shop.

Their heavy riffs are accompanied by subject matter which preaches kindness, happiness and how to have a good fucking time.

PE ANE SS Chester Great name and even better 3-minute alt-pop songs. More hooks, charm and depth than a dozen identikit indie-boy bores.

CO RT N E Y D I XON Newcastle

CO R E LLA Manchester

A prolific writer and producer of hook-laden alternative pop songs, this Newcastle-born rising star has been likened to Sharon Van Etten in a jam with Billie Eilish.

Born out of a youth spent in dead and under-invested Northern towns, the band’s hunger to succeed is driven by the desire to create a euphoric state, free from judgement and open to all.

BEST IN TOWN

B EDROOM PO P S I N GE R FAY E ROGE R S H IG H L IG H TS T H E IMPORTANCE OF MUS I C I N D E A LI N G W IT H M E N TAL H E ALT H ISSUES AND PROMOT I NG LGBTQ+ R E P R ESE N TAT IO N .

You’ve been a key worker in the mental health field through what must have been a tough year. How has that been for you?

“I work with young people who are experiencing their first episode of psychosis. They might be students, or people who are away from home and their support network. I have mental health support as a patient, but at the start of lockdown all of that was taken away, and I found that really hard. So, it’s great to work with people who are struggling too, and I feel really lucky that I can try and help people through things.”

Has music helped you deal with mental health issues, as a fan or a musician?

“There’s certain artists who resonate with you. I first heard The Drums when I was about 14, and the lyrics made me feel less alone. The reason I started writing was to express myself

and to work through things.

I’ve had anorexia since I was 10, and have struggled with self-harm and depression.

Songwriting was a massive thing for me, and helped me to start opening up. I’ll always be so grateful to music for that.”

“If just one person feels less alone, that’s an amazing achievement.”

You’re very outspoken about wanting to help provide a voice for female and LGBTQ+ musicians. How can we help to strengthen this community?

“We need to normalise queer shows. There’s a great organisation in Bristol called Eat Up! who put on shows for queer artists who otherwise wouldn’t get that stage. We need to see nights like that as more commonplace.”

Have there been any artists whose activism has inspired you?

“Johnny Pierce of The Drums is openly gay and talks about his experiences with his religious parents. As a teenager feeling like I was queer, that really helped me. I don’t have the biggest platform in the world, but with what I do have it would be wrong of me to not talk about these issues and try to provide support.”

What do you hope that fans take away from the new record ‘Fine’?

“If just one person feels less alone, that’s an amazing achievement for me. It’s also nice to just take them out of the hard stuff that’s going on and give them some solace in listening to something.” • Rosehip Teahouse’s latest EP, Fine, is out now.

LICKS MAGAZINE Words by Jenny McDowell-Langford

Photos by Adam Whitmore

Take a snap with your LICKS magazine, tag us and your location for the chance to win four free issues! @LICKSmag

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LICKS MAGAZINE

ISSUE 1 LETTER FROM THE EDITOR Welcome to LICKS. Whether it’s a heartfelt ballad reaching you in a moment of isolation, or the tongue-in-cheek track which conjures a wry smile, now more than ever music serves as a constant and beloved friend to guide us through these difficult times.

2020 saw artists being forced from the stage and retreating to makeshift home studios. But while the contagious energy of live music has left a huge gap, we’ve once again seen this defiant community persevering to create, and not being shaken and shaped by external pressures.

For me, the most inspirational of all are those underground and independent artists. Despite watching year-long tours and seemingly once-in-a-lifetime opportunities disappear, countless numbers of these artists have not let this year dampen their creativity. This magazine is dedicated to them.

LICKS is a celebration of all things new music. Our team has worked tirelessly to create a new spotlight for the most exciting emerging and independent artists, and we are delighted to share with you interviews with the very best from post-punk and grime, to bedroom, slacker and K-pop, who fill these pages with a slice of much-needed optimism.

It’s not just artists though, that have put in the hard graft in the face of adversity this year. We have also taken the opportunity to highlight three causes close to our hearts: the MVT’s Save Our Venues campaign, Music Declares Emergency, and Black Lives Matter UK. Their relentless effort in keeping creative spaces open, raising awareness of the devastating impact of climate change, and fighting social injustice, is extremely important so please take some time to learn about, and support, their great work.

So, on behalf of our team and contributors, welcome to the inaugural issue of LICKS and thanks for joining us on the first step of our journey into print. Some of our favourite acts of the moment are scattered through these pages, and while we will see you again in the spring, we’ll continue to keep the website and social feeds up to date with the best in new music to tide you over until then.

Jack Parker Editor-In-Chief

LICKS TEAM CHIEF-EXECUTIVE-OFFICER

EDITOR-IN-CHIEF

WRITERS

Jacqueline Scripps

Jack Parker

Callum Crowe Charlie Ashcroft Dan Flood Frankie Francis Jack Parker Jenny McDowell-Langford Katie Hubbard Laurence Kelly Lily Blakeney-Edwards Shell Zenner

BUSINESS DIRECTOR

EDITOR

Richard Hannan

Dan Flood

ART DIRECTION & DESIGN

CONTRIBUTORS

Meghan Weale

Aaron Watts Tallulah Webb Will Gray

COVER PHOTOS

Hannah Driscoll

LICKSMag.com | LICKSMag@gmail.com | @LICKSMag LICKS Magazine is published by Select Music Group, LLC. and is governed by the State Law of Travis County, Texas, USA. All rights reserved.

All material copyright © 2021. This publication cannot be reproduced or sold in any form, whole or part, without the express permission of LICKS Magazine.

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