LICKS Magazine - Issue 5

ISSUE 5

TASTE IN MUSIC

WARGASM

W. H. LUNG • MOLLY PAYTON • PENELOPE ISLES • LUTALO • BAMBARA

£5 / $7

ISSUE 5 SPRING 2022

LETTER FROM THE EDITOR Welcome to LICKS.

CHIEF-EXECUTIVE-OFFICER

Jacqueline Scripps BUSINESS DIRECTOR

Richard Hannan EDITOR-IN-CHIEF

Jack Parker ART DIRECTION & DESIGN

Meghan Weale EDITOR

Dan Flood WRITERS

Callum Crowe Jenny McDowell-Langford Katie Hubbard Laurence Kelly Lily Blakeney-Edwards Ruari White CONTRIBUTORS

Aaron Watts Ana Strutt Camille Bagnani Sabiyha Rasheed Tallulah Webb COVER PHOTOS

Jessie Rose (WARGASM) Nicole Busch (Wallice)

LICKSMAG.COM

Spring has reared its head and we can finally welcome back international festivals with SXSW and The Great Escape giving the music industry the opportunity to come together once again.

Two of the artists sure to conquer festival season adorn the covers of this issue. Nu-metal duo WARGASM talk us through their ferocious live shows, building a community of fans and the hypocrisy of stream-cancelling nipples. While LA’s indie-pop rising star Wallice speaks to us about being a sore loser, manifestations and Gucci getups.

A big thank you is needed for all the writers, designers, and creatives working behind the scenes. It’s been a frantic few months but their energy, enthusiasm and determination has pulled together two SXSW showcases, a host of US and UK live shows and our thickest issue to date.

We’ve also taken some time to promote a number of causes that have inspired us. In particular, we want to highlight Hysterical, an exhibition bringing together a group of women and nonbinary artists who use art as a tool for advocacy.

Such artists have an increasingly important voice in tackling social and political issues so, if you can’t make it to London, please take time to check out and support their work.

As always, if you like the magazine let us know, spread the word and keep an eye on our website for fresh articles, new interviews and LICKS live shows in the UK & the US. If we don’t see you in the crowd, we’ll see you in June for issue six.

Jack Parker Editor-In-Chief

LICKSMAG@GMAIL.COM @LICKSMAG

LICKS Magazine is published by permission of Select Music Group LLC and is governed by the State Law of Travis County, Texas, USA. All rights reserved. All material copyright © 2022. This publication cannot be reproduced or sold in any form, whole or part, without the express permission of LICKS Magazine.

♥

M OLLY PAYTON

♥

When New Zealand-native singer-songwriter Molly Payton uprooted to London aged just sixteen, she found the distance between the two was more than just miles.

Discovering a new scene, a creative crowd, and flourishing friendships, Molly was inspired to shape and share her sound and has since cracked a million streams, graced the stage of London’s beloved Roundhouse, performed in the States, and launched well-received mini-LP, ‘Slack’.

How did you get into playing music?

“I started really young. My mum put me into classical piano lessons when I was three, and I did that for twelve or thirteen years before I touched any other instruments. I was fourteen when my parents properly introduced me to Joni Mitchell, Leonard Cohen and Bob Dylan.

I had been listening to them since I was a kid, but I didn’t really sit down and absorb the words or anything until then. That was what made me want to start writing. By fifteen I had picked up the guitar and started learning how to sing.”

Have those early influences changed as you’ve gotten older?

“They’re still there. I always end up coming back to artists like that when I’m having writer’s block - I go back to my roots and focus on my words, rather than my sound or melodies. Although, I’ve discovered a lot of massive new influences as I’ve grown

and cultivated my own taste. Bands like Big Thief and Pinegrove are two more recent influences. They’ve changed my whole perception of music. The way that Big Thief perform and connect with people without doing the whole social media thing has been really encouraging for me, because I don’t like doing that stuff either. It’s good to see a current band doing so well without buying into all that modern mumbo-jumbo.”

The London move sounds like a defining moment - is that reflected in your writing?

“Content-wise it influenced my music a lot.

You can hear in my first two EPs that I’m suddenly going out a lot, and constantly heartbroken over someone. It was very unsettling, to move, but it’s something that has changed my life for the better - I wouldn’t have even considered doing music if I hadn’t moved over here. It’s also changed my sound. More than anything because I met my first band here, who still play with me now.

Meeting them was a big step for me because it made me start writing for gigs, rather than only using music as an outlet for my emotions.

I was suddenly excited about writing faster songs, and my music became a lot more upbeat because of it.”

You’ve stated that forming friendships with fellow musicians like Oscar Lang was crucial to you sharing your music. Did you need a lot of encouragement to make that step?

“I’m sure I would’ve put songs on SoundCloud, but I don’t think I would have really progressed. At the end of the day, the London industry is about who you know rather than pure talent. Because I met Oscar, and others like Leo Wyndham from Palace, they’re kind of responsible for my career. When people in the industry share your songs, suddenly other industry people pay attention. I’d start getting messages from lawyers and managers.

Knowing that makes me really grateful for my achievements.”

Is the UK music scene distinctly different from that of New Zealand?

“I don’t prefer one or the other, but it’s very different. In New Zealand, everyone helps each other out, and everybody knows everybody.

It’s a really lovely environment because people just genuinely love gigging. Instead of going clubbing or to parties every Friday or Saturday night, people go to gigs - even if you’re not musical. It’s just what people do over there.

It’s a nicer environment, but you can’t go as far. It’s easier there to get to a point where you’re selling out venues and everybody in the country knows who you are, but it’s very hard to branch out internationally. Being in the UK is a lot more competitive. There’s a lot more you have to do to get started, but once you do, there are a lot more opportunities. That’s why I’ve decided to live here for at least the time being. At this time in my life, I need that push to make my best work.”

You returned to New Zealand to record ‘Slack’ - how did that affect your process?

“A lot of the songs were written before I went over there. Being on my home turf made me a little bit more confident and more assertive in terms of the sound, but it was hard because my producer, Oli Barton Wood, was in London.

We recorded most of it in one crazy week. I’d go into the studio at about 10 am and stay until 8 pm, then Oli would wake up in London and would Zoom-call in, all rubbing his eyes and shit. He’d listen to everything and work all day whilst we were sleeping, and then as he was going to bed, we would wake up and it would start again. It was super productive, but harder to communicate and we really had to plan things out.”

What is on your radar for the coming year?

“I don’t know how much I can say, but I’ve written a lot of songs in the last couple of months… perhaps an album’s worth. I have something big planned for before I’d release an album though. Lots of live shows, too lockdown meant I didn’t get the chance to gig and give my music the live push it deserved.

There is a lot of good stuff coming. But, for now, give my mini-album ‘Slack’ a listen, I put my fucking heart and soul into it and I love it.”•

You can listen to Molly Payton’s heart and soul on ‘Slack’ now.

Writer: Jenny McDowell-Langford Photos: Lewis Vorn

LICKS MAGAZINE

BAMBARA Despite the pandemic halting the “biggest year of their lives”, resilient noir-punk outfit BAMBARA are making up for lost time with a brand new mini-LP, ‘Love On My Mind’, and a spring EU tour to boot. We caught up with singer, Reid Bateh, from the New Yorkbased storytellers on crafting a narrative, knowing when to start again and the power of NYC.

The reception of ‘Stray’, and ‘Serafina’ in particular, was huge. What can fans expect from ‘Love On My Mind’?

album than ever before – they’re very clear and concise songs while also sounding like BAMBARA songs.

“I guess one of the main things we’re focusing on with this one is clarity of textures within the songs. We have a tendency to pack in a lot of layers and noise. With each new release, we’re trying to hone in on what is the most important about each track and pull that into focus instead of putting more things around it to bolster it. We’ve done that more on this

“In terms of the lyrics, there’s still a narrative running through the whole record in the same way as there has been on other releases. Since there are only six songs I decided to just focus on two characters to make it a more intimate story. It’s more about two people living in New York and how they’re dealing with everything in their lives.”

“ There was a longing to experience New York City again in the wild, chaotic way it can be. That’s why I turned to photography, so I could see the city without being in it. ” You nearly brought out an EP before deciding to scrap it. Will we hear any of those tracks?

“We had all these crazy touring plans right around the time COVID hit - it was going to be the biggest year of our lives. The pandemic erased all of that. Instead of trying to battle the feeling of dejection we thought ‘fuck it, let’s write an EP immediately’ so we just did.

We kind of just forced this EP out, recorded it, mixed it and we were listening to it and realised it wasn’t right so we scrapped the whole thing. A few things made it on to ‘Love On My Mind’ but they are now vastly different.

We spend a lot of time on quality control, we don’t want anything we don’t like getting out into the world!”

What comes first during your writing process, the music or the story you’re trying to tell?

“Always the music will come first. I’ll have ideas written down but I won’t try to do anything with them until all the songs are finished so I can sit back with the full thing and figure things out from there. We’ll record the songs and mix them and then I’ll just take some time to myself where I don’t interact with anyone. I’ll take off work, not talk to anybody, wake up and write and go back to sleep for a month. I have to feel like I’m living it instead of watching it from afar. You have to believe that I’m experiencing it.

see the city without being in it. Particularly, I took a lot from ‘Ballad of Sexual Dependency’

by Nan Goldin.”

You worked with the Grammy-nominated Claudius Mittendorfer - what did he bring to the table?

“It was a pretty crazy experience for us as we are usually obsessively involved with the mixing process. We’re so detail-oriented it almost becomes self-destructive at times.

With this one, we got Claudius in who is unbelievable and we were doing it remotely.

Usually, we’d be hanging over the engineer’s shoulder. This time we couldn’t do that and he only had a certain amount of time every day but he really understood what we were going through. It changed our perspective, allowing someone to do their job, letting them do it, and then giving notes after rather than being involved in every little thing along the way.

He brought life into the songs in ways that I wouldn’t have ever thought about.” •

BAMBARA’s new mini-album, ‘Love On My Mind’, is out now.

Writer: Laurence Kelly Photos: Pooneh Ghana

“For ‘Love Is On My Mind’, I was dealing with how COVID had cut everyone off from the city.

There was a longing to experience New York City again in the wild, chaotic way it can be.

That’s why I turned to photography, so I could

LICKS MAGAZINE

ABORTION IS HEALTHCARE SUPPORT TEXAS ABORTION FUNDS

ACCESS RESOURCES / DONATE / NEEDABORTION.ORG

PENELOPE ISLES LILY WOLTER MAKES UP HALF OF MYSTIFYING ETHEREAL SHOEGAZERS PENELOPE ISLES. ALONGSIDE BROTHER JACK, THE SIBLING DUO RELATE A TURBULENT COUPLE OF YEARS TO THE COASTAL WAVES THAT INSPIRE THEIR SOUND.

The group’s sophomore album ‘Which Way To Happy’, which was released in November 2021, is a shimmering, introspective collection of eleven songs that showcase the band’s innate ability to write delicate and intimate music.

However, Lily explains the recording process and touring uncertainty was far from idyllic.

“It was really difficult because we moved to Cornwall on day one of the first lockdown, we were only supposed to be there three weeks

and we ended up staying for more than two months. We were in this cottage in the middle of nowhere. There was one bed between the four of us so we alternated between that, a blow-up mattress, and sleeping on the floor.

There was no privacy. The area was beautiful, but there was nothing around. When we moved there we thought we could go see our parents, we could go surfing every day, we’d have barbecues on the beach and go to the

pub. But, of course, we weren’t allowed any of that. All we had to do was make this record. It was tough but I guess it had its advantages.”

The turbulence of the past few years has certainly had an impact on Penelope Isles with line-up changes and their tours being rescheduled, the band had to once again navigate tough decisions. “It’s so nice having the album out in the world though. When you focus and work so hard on something for so long, and put all of your thought and energy into it, you know when it’s ready. I remember we felt quite a big sense of relief when we were finished. But then we had to work out how to tour and promote the record during COVID. I wonder what this would have been like if we had released it in a world without the pandemic. Getting out on the road has been hard because people haven’t really been going to shows. It’s really hard not to take it personally. I’m just trying to stay positive in a negative time, although I’m also trying to stay grounded in the positive times, if you know what I mean.”

production duties on ‘Which Way To Happy’.

“Making a record with Jack feels intimate and honest because there is no one in between us making executive decisions. He’s obviously the man on the production wheel and he knows so much more about it than me, so ultimately he’ll make production decisions. Although he very much respects me as a musician. We’re equals. I can’t deny, there have been times where we’ve not wanted to be in the same room, but we’ve got a job to do. I don’t think I could ever do this with anyone else, because we’re so connected. We can read each other’s minds. It’s an absolute trip doing this journey with someone you’re so close to, sometimes I think I couldn’t do it without him.”

Despite the peaks and troughs, there seems to be little that can stop the wave of beautiful, introspective, and beguiling shoegaze coming from Jack and Lily. • Writer: Katie Hubbard Photos: Bridie Florence

The sea is something you can almost feel through Penelope Isles’ work. It comes as no surprise given their historic attachment to the coast, throughout both of their formative years. “Growing up always by the water, it became a part of who both Jack and I are.

We’re both quite emotional people. You know he went to university in Falmouth, I went to university in Brighton. We both grew up on the Isle of Man and our parents moved to Cornwall a few years ago - so the sea is a really important thing to us. We’re moved by it.

And, naturally, I think it makes up a big part of our lyric writing. That does sound corny, but it’s such a beautiful thing.”

Alongside a love of the sea, the siblings’ close relationship is at the heart of Penelope Isles’ work, with the bond between Jack and Lily lending a certain intimacy to the writing, reinforced sonically with Jack taking up

LICKS MAGAZINE

WA R GAS M WA R GAS M WA R GAS M

The loud lovechild of chance gig meetings and a drunk phone call, nu-metal power duo WARGASM have earned nothing but noise since they smashed onto the scene in 2018. Breaking the metal mould with electronic samples and shared vocal duties, Sam Mason and Milkie Way have continued to grow their huge sound, fanbase and momentum over a busy few years.

On the back of a sold-out headline tour, stellar support slots, a series of successful singles and main stage festival outings, Sam and Milkie stopped by to talk shutting down streams, metal and the mainstream, and femme friendly fun at their riotous shows.

Milkie: Leather jacket - Goldsmith Vintage Chain bra - Alex Justpat Latex shorts - House Of Harlot Jewellery - Anine Irdem Sam: Own clothes

Milkie: Jewellery - Anine Irdem Latex gloves - House Of Harlot Fishnets - Ann Summers Sam: Own clothes

“ You

get eve r yo n e f ro m que e r pu n ks , t o b i g hair y m eta l h ead s , t o g irls bo u n c i n g aro u n d t he pi t. I t’ s awes o me. ”

On the beginnings.

Milkie: “I was at university studying fashion and modelling full time. I’d just moved to London and didn’t know anyone. I was just heading out to gigs with a disposable camera.

I started a page called ‘girl in the pit’. I’d gone to a couple of Sam’s gigs and taken some snaps that his management saw and quite liked, that’s how we met.”

Sam: “Yeah I’d spotted Milkie in the crowds, this little blonde thing bouncing around.

We liked what she was doing, ‘girl in the pit’ just did what it said on the tin. As my band imploded, as they tend to, I couldn’t see myself working on another project without femme vocals and the character play you can achieve with that duality.

“I rang Milkie pissed one night, as she was away modelling in Japan, and just said ‘for the love of fuck please tell me you play an instrument’. We went to gigs, parties, realised that when people grab the aux at 3 am it’s always edgy shit they put on and people hate it – but if you play ‘Break Stuff’ by Limp Bizkit for a room they go crazy – and that was it.”

On their sound.

Milkie: “It wasn’t always this heavy, soundwise. There was a real alt-rock sound when we started, Placebo, Reuben, that kind of sound.

Pop-punkish.”

Sam: “I listened to a lot of cock rock and hair metal when I was younger. Whitesnake, Def Leppard, Maiden. I loved Nirvana as well.”

Milkie: “And I listened to a lot of Motown. A lot of pop, a lot of Madonna, Britney. My older siblings listened to MCR and bands like that.

Slipknot and Bring Me The Horizon were the first metal bands I was really introduced to.

But Lady Gaga and Bowie are my all-time favourites. I think being a pop fan helps us in the writing room, helps us put Sam’s metal ideas with my pop ear.”

Sam: “Are you saying my metal doesn’t have choruses?”

Milkie: “No! Just different. I mean are they really all that different, Britney and Maiden?”

Sam: “Yes. Maybe Britney and Journey. But WARGASM just is what it is. I don’t know that they influence us more than notes on a movie soundtrack would.”

On playing live.

Sam: “The singles don’t even have live drums.

No one seems to notice. We’ve got a friend, Adam Breeze, who is a fucking monster. Best drummer in the world. And a guitarist, Eddie Phoenix, they play with us live. We found Eddie in a pub. There wasn’t even a band yet.

“It’s definitely bigger, louder, crashier live. I give up on what they’re meant to sound like and just play them how I feel on the night.”

WARGASM

“We’ re h e ading towards s o m eth ing, i t ’s sounding p rett y good. And there’s o n l y s o l on g I can go b efo re I get im p atient a n d l eak s ome trac ks. ” Milkie: “Yeah, people always say we’re a lot heavier live. A nice surprise when people turn up and hear some brutal lows, they can take something away from the tracks that maybe they hadn’t before. We’re a young band; we’re still finding ourselves and our sound, in real-time on stage, in front of fairly sizeable crowds.”

[Duncan – Trash Boat] had a see-through shirt on. I hadn’t even realised I’d had a slip! It was all an online uproar, no one cared in real life!”

On Riot grrrl, and nipples.

On the fans.

Milkie: “We’re actually named after an L7 song. The Riot grrrl movement was ingrained in my musical education. It was always going to be part of who we are as a band. And I love looking out and seeing so many girls in the pits. It’s awesome. So many girls and so many fucking nipples, male, female, and everyone in-between. There’s so much nudity at our shows – we’re both usually half-dressed on stage.”

Sam: “You know how bands are like ‘we have the best fanbase in the world’, and you go to a show and they fucking suck. Our fanbase is actually the fucking best, we love them. You get everyone from queer punks, to big hairy metalheads, to girls bouncing around the pit.

It’s awesome.”

Sam: “People are definitely more liberal, more cool, more understanding these days too.

There are definitely people in our fanbase that have been ahead of me, but we feed off each other’s energy, it’s symbiotic. It’s cool.”

Milkie: “The Heavy Music Awards was our first major award ceremony. That’s where we won our first award. I just wanted to wear something sexy, look good and feel good. The stream being pulled wouldn’t have pissed me off so much if it wasn’t for the fact Tobi

Sam: “People are just fucking boring. It’s a fucking rock & roll award show, we’re meant to be leather-clad and screaming at each other, not rocking up in matching Topman suits.”

Milkie: “They’re the best! “It’s the most diverse crowd you’ll ever see. Unless you go to a Dolly Parton show.”

Sam: “It’s such a cool audience. When you do Download or Bloodstock, and someone stops to talk, there’s this connection. You feel at home. That’s what we want at our shows.

We’ll play a support show, and loads of our crowd will turn out, and there’s this mates in a pub vibe. They’re fashionable, they’re angry, it’s fucking great energy. And we’ll be writing, and remembering crowd surfers in Manchester thinking they’ll fucking love this

“The name, the songs, the titties are probably not great for the algorithm.” bit. We react to the crowd’s reactions.”

Milkie: “We’ve got a burner phone with a secret fans WhatsApp group. The number is probably out there if you look. Everyone’s themselves and they’re involved; diverse backgrounds and age groups talking about releases, pets, dinners. They’ll arrange to meet before shows having never met. It’s beautiful.”

Sam: “And it works. If we wanted to play the social media game for an ‘audience’ we wouldn’t be called WARGASM. The name, the songs, the titties are probably not great for the algorithm. We just play shows and drop tracks when we like, or really when Milkie says shut the fuck up, we’re releasing this song.”

On metal and the mainstream.

Milkie: “Slipknot went number one in 2019, and they will again!”

Sam: “As stuff gets more digital and calculated, and pop is shiny and melodic, more hooky and bubblegum, there will be a split that goes the other way. If pop stayed edgy, people wouldn’t want metal so much.

It’s like fucking Star Wars - there’s always a movement and a counter-movement! I’m sure once heavy shit gets as big as it can it’ll come crashing down, and you’ll get edgy pop again.

Fucking indie bands will come back. For some reason when pop was edgy everyone played fucking indie music. Probably the darkest decade, and we’ve had two world wars.”

Milkie: “We get it, you hate Arctic Monkeys!”

Sam: “I haven’t seen a Telecaster in ages and it’s fucking awesome.”

Milkie: “Didn’t your boys in Maiden play Teles?”

Sam: “No, Strats, and they weren’t going on about some shit petticoats.”

On what comes next.

Sam: “I want to drop something big soon. It feels like the right time. We’re sat on some great tracks.”

Milkie: “We’re in the studio, doing some residential writing. We’re heading towards something, it’s sounding pretty good. And there’s only so long I can go before I get impatient and leak some tracks. It’s shaping up nicely.”

Sam: “More of the same though. Just louder.

Angrier. Sexier. More music and better merch. I’m going to learn how to do a flip.”

Milkie: “If Fergie can do singing cartwheels on Good Morning America at 8 am, you can too.” •

There’s a good chance of seeing some Fergie-style cartwheels and/ or flips as WARGASM hit the road across the US and Europe this year.

As for new releases, expect them soon and perhaps leaked tracks even sooner.

Writer: Dan Flood Photos: Jessie Rose Stylist: Callum Smith

Ryan wears The Fred Perry Shirt M3600 in White / Red / Navy

Ryan, Model and Disabilities Advocate Listen to Ryan’s Playlist

FREDPERRY.COM

Our team have put their heads together, fought it out, and settled on our highlights-in-hindsight, since LICKS #4.

Let us know @LICKSmag what you think of our hit list from the last three months in music.

BEST VIDEO

BEST DEBUT

Kojey Radical flexes his lyrical prowess on sleek and stylish track ‘Payback’ featuring Knucks. The video sees the pair dressed to kill with cameos from Wretch 32, Poet and Swindle. If there was an award for most stylish, Kojey would’ve copped that too.

Leeds-based lefties and our issue three faves, Yard Act charged into 2022 with a debut album chock-full of sharp wit, comedic timing and anti-capitalist tendencies. Their quest for a UK number one album may have fallen just short but ‘The Overload’ is right on the money.

KOJEY RADICAL FT. KNUCKS ‘PAYBACK’

LICKS MAGAZINE

YARD ACT ‘THE OVERLOAD’

BEST SINGLE

BEST NEWCOMER

Heavy alt-rock renegades, Nova Twins delve into villanary on new single, ‘K.M.B’ (Kill My Boyfriend).

Meaty drums, sadistic lyrics and in-your-face basslines make the duo stand out as potential heads of class in the flourishing heavy scene.

Irish indie singer-songwriter katie phelan is the most promising, charming new artist you haven’t heard of yet. Her honest, heartwarming debut single ‘For You’ mixes serene acoustic guitars with delicate vocals showing plenty of promise from the Dublin native. Get in now if you want ‘I heard them before they were big’ bragging rights.

NOVA TWINS ‘K.M.B’

BEST ALBUM

BLACK COUNTRY, NEW ROAD ‘ANTS FROM UP HERE’ ‘Ants From Up Here’ is the stunningly beautiful sophomore record from the experimental post-punk collective.

Visceral, emotional and more palatable than their debut, this could be a seminal album which influences the next decade.

KATIE PHELAN

BEST SHOW

BOSTON MANOR @ ELECTRIC BRIXTON Blackpool’s pop-punk raconteurs Boston Manor thrilled on their long-awaited return to the capital with a sold-out show at Electric Brixton. A setlist filled with fan favourites from their breakthrough album ‘Welcome to the Neighbourhood’ and live debuts for newer cuts on latest offering ‘GLUE’ made for a raucous show.

Words by Jack Parker

LUTALO LU TALO MUSICIAN. SUSTAINABILITY ADVOCATE. COMMUNITY BUILDER. FAR FROM CONTENT WITH BEING PIGEONHOLED, LUTALO JONES HAS MORE THAN ONE STRING TO THEIR BOW. WHERE ARTISTS OFTEN FOCUS ON THE OUTPUT, LUTALO’S SONGS ARE JUST ONE BYPRODUCT OF THEIR JOURNEY TOWARD HUMAN SUSTAINABILITY, QUESTIONING WHAT IT REALLY MEANS TO EXIST, TO FEEL AND TO THINK IN A WAY THAT PRESERVES VALUES AND SELF. FROM DEEP IN THE VERMONT MOUNTAINS, LUTALO SHARES WITH US A WINDOW INTO THEIR DEEPLY PERSONAL, PHILOSOPHICAL SOLO PROJECT.

With a selection of truly beautiful, acoustic, indie-folk-inspired songs for new EP ‘Once Now, Then Again’ due in May, Lutalo is ready to embrace their next big challenge and see what the future brings. “I wanted to share this music at some point, and I’ve put the time and effort into getting it to a standard that I feel happy with. I haven’t put out a work of music before, so there’s no pressure really. I haven’t yet shown what I’m capable of. I feel like I’m giving people two percent of that right now.

They’re only getting a very small glimpse of my intentions for this project, of how I’ll build on the sound. I try not to be too heavy on the planning or anything like that, but I’m excited to be sharing this more. It feels good. I felt like some of the acoustic elements in the EP are emulating the likes of Andy Shauf. I’m a big fan of Unknown Mortal Orchestra and their work as well. At its core, this is a collection of songs that are trying to capture feelings and colours and experiences.”

Aside from making an EP, Lutalo has also been busy moving to rural Vermont via Minneapolis and New York, relocating for “the general topography of the land and the wildlife” and “to start a new way of living”. “I’m just trying to establish stability in my life. To have a place that I can call home. I’m working on hopefully, in the next year or so, building a cabin with my partner that we’ll be living in. The real goal I guess was to get out of the mentality that being in the rat race was necessary. I don’t want to spend my time in a state of stress and concern about survival, the goal is to ultimately become a self-sustainable human being in some form because that’s where I find most of my security in life.”

This holistic focus on sustainability and sustainable living, in both a literal and more abstract sense, are major influences for Lutalo.

“Doing music right now, that’s my action of sustainable living. I know that mentally I’ll do

better if I am focusing my energy on things that I really care about, so that’s a large part of it. When it comes to the space that I surround myself in: if I don’t feel like it’s giving me what I need to be at peace, if it feels chaotic and intense, then it’s an unsustainable situation for me. That’s my approach. And then on top of that there’s also fundamental rules to life, like eating, having warmth, a home. To live sustainably, for myself at least, I want to take care of those things on my own rather than being dependent on a structure I don’t necessarily agree with.”

There have been increasing calls to re-evaluate sustainability in the music industry, both that of artists personally and the environmental sustainability of an industry partially reliant on large-scale global travel. “I don’t find the industry very sustainable when you look at how we treat each other. Ultimately that impacts how we structure and value the things that we interact with. So, if a stream of music is worth half of a cent, then that’s how we as a culture value it, which then affects the artist, the consumer, the roles and rewards within the industry. We’ve been manipulated into thinking that we should value certain things, re-evaluating this personally is what is important right now; not waiting for other people to determine what our values should be. One thing I’ve started to recognise in a lot of media consumption is that there’s a manufactured form of pessimism that’s being pushed. I feel like that is very disabling. When it comes to a generation growing up and being told there’s nothing we can do, that we’re all screwed, of course there’s going to be no hope. We’ve got to recalibrate this mindset.

That takes some optimism, or else you’ll have no energy to do it.”

LU TA LO

“ABOVE ALL, I WANT TO SHARE THIS EXPERIENCE WITH OTHERS RATHER THAN TRY TO TELL AN EXPERIENCE.” When asked what they want to take away from the record it is no surprise that the outlook is equally profound. “The real message is to start to question what it feels like to be alive, rather than kind of just numbing out, which I feel like a lot of us do. And I’m guilty of just burning through life. The goal isn’t to be some self-righteous person that is telling everybody ‘this is what we need to do to live better’, it’s just an evaluation of what I’m experiencing. This is how I feel and I’m trying to navigate it, and I know you guys are trying to navigate it too. Above all, I want to share this experience with others rather than try to tell an experience.”

Providing a refreshing tonic to the frenetic pace of life, Lutalo is becoming an important and much-needed voice for compassion, serenity, and mindfulness in the music industry. •

Lutalo’s debut EP ‘Once Now, Then Again’ will be landing in May 2022.

Writer: Katie Hubbard Photos: Rhianna Hajduch

LICKS

MAGAZINE

W. H. LUNG In 2021 Manchester’s W. H. Lung served up ‘Vanities’, an exhilarating electro-pop album and a worthy follow up to their acclaimed debut, ‘Incidental Music’. Ahead of their first SXSW showcase, we sat down with Joe Evans (Vocals) and Tom Sharkett (Guitar) to discuss their sophomore effort, new music and their live music community.

How does it feel looking back on the release of ‘Vanities’?

“It’s really nice to look back at that year of our lives as a little snapshot when we think about writing and recording the album. A lot has changed in many senses for both of us and it was really fun to make the record, so it’s a fond memory for sure! I think we did achieve what we aimed for in terms of the sound as well but at the same time can see what we’d maybe change going forward which is always the case. It’s nice to see people enjoy the new songs live now and they feel like they’ve been with us forever now!”

How did the album differ from your debut, ‘Incidental Music’?

“This new record is so different from the last, which wasn’t necessarily a choice. We just write in accordance with what gets us generally excited. For ‘Vanities’, what was exciting us was dance music culture. Especially in Manchester, nights like Wet Play at the White Hotel and the varied sets of ALFOS and Andrew Weatherall. With this our approach became more direct. It was written quicker and more in the spirit of play. Whereas, we took our time more with ‘Incidental Music’.”

If ‘Vanities’ could soundtrack any movie, which would you choose?

“The visual language of the record is something that started to occur to us after we had had a bit of time to process the way it ended. The film ‘Victoria’ springs to mind for some reason as it’s exploring club culture to some extent but it’s also an odyssey of self discovery. The film is one long shot which is kind of what this album felt like during its creation. One continual exploration of a new area of music, populated by new influences.

The Nils Frahm soundtrack to this film is beautiful, worth checking out all on its own.”

You were able to get out on a UK tour last year. How did it feel to get back to playing live again?

“It reminded us why we do it. It was actually really difficult at times to not be able to see people respond to your music when you can’t play live. It is of course great to see people post on social media and stuff but it’s playing live where you really see people responding and enjoying the music. Everything about it is fun. Meeting new people, going to new places, and getting to perform to people where we’re all rooting for the same thing.”

What approach are you taking with new music?

“We’re writing as much as possible before we start thinking of the fact that we’re making a record. It took some time in between the last two records to figure out the world we were trying to create, so I think we know to be patient. We do want to try and do something pretty different stylistically with each record - even if there’s common themes to them all.

Production is a big factor on this one and, from my perspective, ideas start with samples and intentionally odd sounds and piecing them together like a collage.”

What lies ahead for W. H. Lung?

“Playing bigger stages, playing smaller stages, seeing what happens to the music in front of new audiences. Meeting people, getting amongst it. We’ve enjoyed the studio part of this album cycle a huge amount but, like a lot of other bands, we’re wanting to fully enjoy the fact we can play live again and travel around to do that. We will be writing a lot of new music too so maybe some new songs live.

We’ll have to see!” • W. H. Lung can be spotted at a number of festivals this summer with more live shows expected towards the end of 2022.

Writer: Jack Parker Photo: Laura Cheshire L ICKS MAG A Z IN E

ALB U MR E V IEWS 4.6 / 5

4.2 / 5

YUMI ZOUMA Present Tense

EADES Delusion Spree

Dream-pop darlings Yumi Zouma have returned with ‘Present Tense’; a joyful, celebratory and deeply layered record that offers something new on every listen.

Leeds collective Eades deliver a debut album brimming with sonic excellence, coming good on expectations built upon their string of 2021 singles.

Intricate melodies, motifs, and subject matter meld together to create a dreamlike trip throughout. Highlight track ‘If I Had The Heart For Chasing’, with its minimalist instrumentation and subtle harmonies, paints a beautiful moment of emotional resonance.

A supergroup of sorts, comprising the likes of English Teacher and Far Caspian, Eades have created a record for fans of all things loud and fast-paced. ‘Ever Changing’ and ‘A Welcome Goodbye’ are immediate standouts, the classic mix of garage drums and chaotic guitar undoubtedly marking them as crowdpleasers. Yet, more experimental tracks, like ‘Parachute Voice’ and recent single ‘Reno’, are bold additions that play with sound, texture, and style to delightful effect.

OUT NOW

OUT NOW

‘Present Tense’ provides further evidence that at four albums strong, Yumi Zouma are showing no signs of fatigue.

Words by Lily Blakeney-Edwards

Safe to say ‘Delusion Spree’ does not play it safe as a debut, but with a shared collaborative vision and the musical chops to back it up, it didn’t need to.

3.9 / 5

Words by Ruari White

SOFY Bored in Colour (Pt.1) OUT NOW

Words by Jenny McDowell- Langford

Leicester-born pop newcomer SOFY decidedly delivers with charmingly tongue-in-cheek, eagerly awaited debut EP, ‘Bored in Colour (Pt.1)’.

Epitomised by opener and lead single ‘Strawberry Milkshake’, SOFY’s lighthearted quips and distinctive hip-hop beats create irresistibly catchy, indie-pop sing-a-longs. Standout track ‘Lads!

Lads! Lads!’, reminiscent of a mid-00’s Jamie T, has clear virality potential, with head-bobbing verses, quirky effects, and an unforgettable chorus. ‘Bored in Colour (Pt.1)’, with its infectious, sun-soaked tunes, promises to be a sure-fire hit on this summer’s festival circuit.

LICKS MAGAZINE

4.5 / 5 4.2 / 5 THE LAZY EYES Songbook OUT NOW

The Lazy Eyes take us on a journey through their psychedelic soundscape in their debut album ‘SongBook’, a project with roots that goes back many years into the band’s history.

Jumping from high octane, fuzzy riffs, to smooth grooves that bob and sway alongside singer Harvey Geraghty’s softly sung vocals, The Lazy Eyes will certainly strike a chord with fans of King Gizzard or The Murlocs.

This is an album to be experienced as a whole, with no distractions from its depth and experimentation.

Words by Callum Crowe

4.3 / 5

LINA MAXINE MIND GAMES Russian-American, Oxford University trained neuroscientist Lina Maxine has released her debut EP, the fittingly titled ‘MIND GAMES’: a collage of styles and emotions within the broad confines of what Maxine terms ‘modern rock’. Starting strong with ‘MANGO’, a powerful track with exquisite slap bass and wordplays builds with increasing intensity. It is hard to believe this is Maxine’s debut EP with her having the surety and talent of an artist approaching their peak, not beginning their ascent.

Standout moment comes from ‘CLUELESS’, as glam-rock guitar meets measured vocals lamenting a lack of understanding and dreams not coming true, reminiscent in style and attitude of Skunk Anansie; the dark and light of ‘90s alternative.

Maxine’s maturity and innovative styling throughout make her one to keep a close eye on. Neuroscience’s loss is most certainly music’s gain.

Words by Katie Hubbard

EMPATH Visitor OUT NOW

Words by Jenny McDowell-Langford

With sophomore album ‘Visitor’, noise-pop quartet Empath have created a montage of familiarity, paying homage to the likes of Sonic Youth and Modest Mouse with an uplifting twist.

‘Visitor’ is full of ambiance, with improvised track ‘V’ the highlight of the album. Sometimes weird and often wonderful, Empath’s biggest success is drawing the listener into their atmospheric world. Expect to hear everything from a Minecraft sample to air conditioner buzz which makes this album effortlessly unique as a result.

AL B U M R E V I EWS

ABBIE OZARD HAVING ATTRACTED A FANBASE RELISHING THE FAMILIARITY FOUND IN HER COMING-OF-AGE INDIE-POP BOPS, ABBIE OZARD IS GETTING PERSONAL ON LATEST EP ‘WATER BASED LULLABIES’. WE CAUGHT UP WITH THE MANCHESTERBASED SINGER-SONGWRITER TO DISCUSS HER LATEST RELEASE, DREAM COLLABORATIONS AND HITTING THE ROAD AGAIN.

What inspired the new EP? “Most of the songs are about me, really. I find it easier to write reflecting on my own experiences. Most of the time, anyway. ‘Let’s Play Pretend’, my last EP, was a lot more fictitious, it definitely features some madeup stories, whereas the new EP is a lot more personal. I think by writing like that your songs can mean a lot more to you. I don’t know if I can keep it up though! If there isn’t

much going on, if you’re happy, you can find yourself asking ‘God, what do I write about?’ I suppose we will have to see how the next year unfolds.”

Who are your biggest influences?

“People in my life, especially my family, have always encouraged me to pursue music which is amazing. And, they have so much experience in life - I’ve always found just being around

them inspiring. They are my best mates really.

In terms of musicians, Bon Iver is a favourite I often turn to. The stuff he writes about, I don’t know where it comes from, but it’s crazy. I like to think that if he can do it, I can do it.”

“If you’re happy, you can find yourself asking ‘God, what do I write about?’”

With life slowly returning to normality, is your writing changing with it?

“I have actually found myself working on a lot more co-writes, funnily enough. It’s mostly a mixture of video calling and shooting audio files back and forth. I’ve been enjoying more collaboration. It gets you writing so much more, and it can be really encouraging. It’s not all collaborations though! I have still been writing a lot on my own.”

Is collaboration a big part of your process?

“For my new EP, I collaborated with good friends of mine, Will (Bloomfield) and Hugo (Silvani), both of whom are in their own projects. Over the last couple of years of writing together, we have built this really nice relationship. It is a lot easier to write with people you know, where you’re not too shy to shoot over new ideas. It’s also really nice to be a part of the current music scene. It’s comforting to see other musicians like me and to be a part of the community.”

Is it fair to say visuals make up a big part of your creative sphere?

“I am a very visual person! And I like to visualise my music. For me, how your productions look can actually be one of the most exciting parts of making music! One of my best friends, Charlotte (Rudd), has always done my videos, and we don’t tend to work with anyone else.

I’m so lucky to have her because we seem to share the same brain.”

How have you engaged in live music following the end of lockdown?

“I’ve seen a few bands when I’ve been playing festivals, but mostly it’s been quiet on the live front. The best gig I played in 2021 has got to be 110 Above Festival. My drummer dropped out through illness so I had a friend fill in. We were completely winging it. I think because he just ran with it, it turned out so well! We had a busy tent and people singing along, it was amazing. It really reminded me of why I do this.”

What can we expect from you next?

“I can say that my new EP ‘Water Based Lullabies’ is out this summer so expect lots of new music and lots of gigs! Hopefully, it will be a really good year.” • We eagerly await Abbie Ozard’s third EP, ‘Water Based Lullabies’, out July 1st via House Anxiety.

Writer: Callum Crowe Photos: Charlotte Rudd

ISSUE 5 PLAYLIST LISTEN NOW AND DISCOVER YOUR FAVOURITE NEW ARTISTS

‘Scratchcard Feeling’ by WARGASM ‘Little League’ by Wallice ‘Showstopper’ by W. H. Lung ‘Honey’ by Molly Payton ‘Mrs Magic’ by Strawberry Guy ‘Iced Gems’ by Penelope Isles ‘Warned Her’ by Lutalo And More

SWINDLE

PORSH BET$

HARLEM-BORN, NOMADIC SINGER-SONGWRITER PORSH BET$ HAS BEEN TURNING HEADS WITH HIS HIP-HOP INSPIRED, SYNTHPOP SOUNDS. WE TALK SWITCHING HARLEM FOR LA, CREATING THE PORSH BET$ WORLD AND NEW EP ‘THINGS IN THE WAY’.

When did work on ‘Things In The Way’ begin?

“This all started around a year-and-a-half ago in LA. I moved there from the East Coast and just wanted to start over. I deleted all my old music, came up with Porsh Bet$ and started working on a bunch of demos – that’s how I got here! LA is so different to New York, but I love it. I’ve had loads of different living situations so I’m used to moving around and living like a nomad.”

Would you say either scene influences your music more?

“The influences in LA are different as there are more people making music like mine. But at the same time, they are both places that require a ‘survival of the fittest’ mentality to get to where you want to go. I think sonically though geography doesn’t really play into it.”

Which artists have had a major influence on your work?

“People like Frank Ocean inspire me lyrically.

He will talk about something so specific, but make it so relatable at the same time. Being able to capture that and evoke emotion through lyrics, without telling you what that emotion is is special. For me, it’s less about genre though and more about attitude and approach, they’re what I want to apply to my own music.”

Is there a favourite track of yours?

“I think ‘Whatever’ is my favourite right now.

I kind of hated it when I first wrote it but now

it’s really grown on me. I think that shows that sometimes music has to sit with you, and your opinion will change over time. I’ve gotten over this idea of having to be perfect, so I love going back from song to song and seeing my growth.”

I really enjoyed the ‘Things In The Way’ EP artwork. How did you come up with the concept?

“The artist that drew the ‘Things In The Way’ cover art also drew the cover for my first EP. I thought they had a nice through-line as both EP’s are still kind of an introduction to me as an artist; I wanted to keep the same theme going. The Porsh character that is on the cover, and all the characters in the music videos, are inspired by cartoons and the idea is that these characters always wear the same outfit. The shirt is, of course, based on Napoleon Dynamite, which is one of my favourite movies.”

What are your hopes for 2022?

“I want everyone to get more familiar with Porsh Bet$ so I’m putting out more music and videos. I feel like my music could reach a much broader audience. Hopefully I get to do some shows and some other cool stuff with fashion and other visual projects.” •

Porsch Bet$’s latest EP, ‘Things In The Way’ is out now via all streaming platforms.

Writer: Ruari White Photos: Alex Free

BEST

U.K. & IRE LAND

IN

TOWN

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 extending their local fame to the national stage.

R E D T E L E PH O N E Cardiff, Wales With a brooding and filmic synthled sound that could have emanated from the clubs of Ridley Scott’s Blade Runner, Red Telephone have been compared to MGMT, Berlinera Bowie, Interpol and Moroder.

Expect news on their captivating debut album soon which is set for release later this year.

P L A N TA I N PA PI Dublin, Ireland Irish producer and artist Plantain Papi is popular for his ability to fuse R&B, pop and afrobeat sounds together seamlessly. His feel-good sound is popular with fans of J Hus, Dave and Wizkid.

BERTA KE NNE DY Greenock, Scotland Taking influence from early 2000’s R&B and contemporary alt-rock, Berta has been making waves in Scotland with her homemade, pop production which blends British boldness with an American alt-pop aesthetic.

GAG SALON London, England Gag Salon invites you to interrogate the undesirable and exorcise your demons as they continue to cause commotion and chaos across London with their unpredictably kinetic live shows. Their debut single ‘Horses’ is out now on Blitzcat Records.

BEST IN TOWN

OC E A N FL AWS Essex, England With their post-millennial sound being a mixture of ‘80s pop combined with anthemic ‘90s brit-pop, Ocean Flaws are one of the most exciting unsigned bands around, as proven by their debut single, ‘Deep Sea Dreaming’.

WA LT ’ S FROZ EN HEA D Leeds, England From tales about the eponymous appendage to acid-fuelled love stories, Walt’s Frozen Head invites you down the rabbit hole to find a swirling riot of psych garage-rock, ripe with hollered madness and off the wall melodies.

CA B LE BOY Dublin, Ireland Inspired by the likes of Deerhunter, The Cure, DIIV, and Prince, Lucanbased dream-pop outfit Cable Boy have quickly become one of Dublin’s most promising acts with only a mere six gigs under their belt.

Expect bigger crowds and stages by the end of the year.

W Y L DE R NE SS Cardiff, Wales Wylderness deliver woozy sundrenched pop wrapped in a wall of stabbing guitars and mesmerising shoegaze. Their sophomore album ‘Big Plans for a Blue World’ is set for release in June 2022.

BEST IN TOWN

LOTOS Edinburgh, Scotland Born and raised in Scotland of Nigerian heritage, LOTOS encompasses some of the most prolific artists in early Scottish hiphop, famed for their conscious, bighitting dub and drill soundscapes.

C H R I ST I A N CO H LE Dublin, Ireland Taking influence from artists such as Burial, James Blake and Apparat, enigmatic Irish songwriter Christian Cohle has been engrossing audiences with his electro-pop tunes. New, Donal Ryan-inspired single ‘Spinning Heart’ is the perfect gateway to Cohle’s intoxicating world.

TH E BY KE R GROV E FA N C LUB London, England The chaotic London-based trio have formulated an irreverent blend of hardcore, post-punk, and noiserock as captured on their explosive, self-titled debut EP.

VA L E T TA Manchester, England Art-rock trio Valetta debut’s EP, ’Your Future in an Email’, establishes the band’s intensely unique soundscape of searing guitars and saturated arpeggiators combined with ethereal, understated melodies.

BEST IN TOWN

4 MAGAZINES £15 / $20

SUBSCRIBE NOW LICKSMAG.COM

WALLICE

Wallice is the new face of indie-pop bliss. Her sun-kissed sound, conceived of L A roots and an eclectic mix of genres, is exciting, endearing, and ever-quippy, delivering quietly anthemic lo-fi bops that encapsulate a new generation’s coming of age.

Af ter a colossal twelve months which saw Wallice release acclaimed debut EP ‘Of f the Rails’, join the ranks of Dir t y Hit’s star-studded roster, and get set to hit the road with the alt-pop maestro, Still Woozy, we caught up on her journey so far.

What does ‘Off the mean to you?

Rails’

“The whole EP was written in a fairly short period, so there are a bunch of specific feelings I had at the time encapsulated in the work. I think because it was made over quarantine a lot of people can relate to it. I credit the pandemic for giving me an audience. It feels so weird to have something good happen in such a tragic time, but I think it allows people to take the time to discover new music that they may not have before.

I’m so proud of the EP. Sonically and thematically it fits together, which is always going to be important to me when creating EPs and albums in the future.”

And how was it to make?

“I love that my music is made with friends. When we’re working, it’s just hanging out. And, obviously, writing music is an amazing way to get out my frustrations and feelings. I’ve always been competitive and love games and, for me, writing a song is like a big puzzle. Throughout the writing session you are trying to find the right piece or word or phrase to fit an empty space.”

What is life like on the road with Still Woozy?

“It’s been so fun! It’s only been a little over a week, but it just feels like hanging out with a bunch of friends on a trip. The hardest part is the driving, and I’m not even behind the wheel! DC to LA in three and a half

“It still has as many jokes we can pack into each line without it being a comedy album. It has an almost larger than life ego.”

days was tough. But, the highlights so far have been playing Brooklyn Steel for three nights and, on top of that, having Gucci let me borrow three insanely cool outfits to wear at the shows.”

How did it feel to sell out your first headline show at the Moroccan Lounge?

“That was a crazy show! It was so fun.

Before that, I’d only played a handful.

I did a mini-tour opening for Chloe Moriondo in October, and opening a concert versus being a headliner is so different. Ninety-nine percent of the people there are there for the headliner, and it’s nice being able to make some new fans while opening.

But with headlining, everyone was there because they’d heard my music before. Seeing the crowd sing along and have so much energy the entire time gives me more energy to perform. It was also fun playing my new music for fans and seeing them react so well. It was really special to meet some of the fans after the show, too!”

WALLICE

Tell us about your new single ‘Little League’. What inspired this track?

“My friends know how competitive I am, though, unfortunately, I don’t actually win games every time. When we hang out and someone’s like ‘what should we do?’ I usually suggest board games, Mario Party, bowling, or mini-golf. Lyrically, it started with that.

“I think a lot of people can relate to someone being too hard on themselves. Or, taking that a step further, hanging out with a friend for days straight, but then when they go home or are busy you automatically think ‘Oh man, they’re so tired of me. I think they don’t want to be my friend anymore.’ Of course, that’s absolutely insane, but it’s just this huge fear of being disliked. Hopefully, other people know what I’m talking about.

“Instrumentally, I took inspiration from Radiohead. One of my favorite albums of all time is ‘In Rainbows’, in particular the song ‘Weird Fishes/ Arpeggi’ was a big influence on the drums and instrumentation in ‘Little League’. I grew up listening to Radiohead, and so naturally they are a big inspiration.”

The video centres around a baseball game between a bunch of your close friends.

How was that to film?

“I knew I wanted this video to be true to the lyrics in a very literal way. I wanted a little league team, tennis

LICKS MAGAZINE

and a board game. I took the idea to Phil Stilwell, who I had previously worked with on my ‘Hey Michael’ video. He had the idea to create an actual board game, and have the players of the game be the baseball players, as well. I thought it would be fun to have some of my other friends, who are artists, star in the video as the other players.

“As musicians, we all came up in the same scene, so it felt cool to have them be a part of the video too.

Marinelli, spill tab, MyKey, and mazie were all down to take part, so we designed some baseball outfits for each of us and took it from there.

I’m so grateful for them for spending their time and agreeing to be in the video – especially because it was a long shoot day. I am so happy with how it came out though, and I’m so glad that the shoot was once again my favorite way to work – just hanging with my friends.”

“I went to London to sign with a record label, and that felt special. It was the first time I’ve been there, and it was so surreal knowing my music got me there.”

What can we expect from the new EP, versus your previous work?

“Without sounding too cheesy, I think this EP is more rock & roll, and we broadened the instruments that we used. We live-recorded one of the songs in one day, I played cello on two of them; and, on my personal favorite, ‘Funeral’, we live-tracked saxophone, trombone, flugelhorn, trumpet, and flute, all behind a raging guitar solo.

It’s a bigger, fuller sound, and a lot more theatrical overall. Lyrically, it still has as many jokes we can pack into each line without it being a comedy album. It has an almost larger than life ego.”

How do you reflect on your journey so far?

“This last year has been a dream.

That being said, it would be so easy to look at my career so far and think that it happened overnight, but really it took a long time. I have been writing and recording music since I was sixteen and I only started getting some recognition when I was twenty-two. The hardest part is to keep going when you don’t feel like you’re succeeding. I’m a big believer in manifestation and being able to do anything you put your mind to - within reason. I feel like I’ve manifested a lot of this past year.”

What are your outside of music?

passions

“I grew up making ceramics, and coincidentally I got back into it right

before quarantine. Over the last two years, I’ve spent most of my free time making ceramics. I was able to sell them before I made any money with music, which was really cool. It’s a hobby that requires a lot of patience and acceptance when something cracks or breaks and you didn’t plan for it. I made all of the bowls in my house, and most of the planters and vases.”

What most excites you about the future?

“The fact I only have eight songs out right now, and people are listening enough that I have a career in music excites me so much. I know that this next EP is even better than my last.

I’m so proud of it. I feel like, hopefully, my music career will only continue to grow. I got to play my first festival in November and it was such an amazing experience. I can’t wait to be able to play more. I went to London to sign with my record label. It was the first time I’ve been there, and it was so surreal knowing my music got me there - that felt special. Hopefully, I will release a full-length album soon, maybe later this year. Until then I’m just going to continue to make music and relax, see what 2022 has to offer.” •

‘Little League’ is out now, and keep your eyes peeled for more ceramics and a new EP from Wallice in Spring 2022.

Writer: Lily Blakeney-Edwards Photos: Nicole Busch

STRAWBERRY GUY

Liverpool based garden–pop dreamer Strawberry Guy, has had a life-changing twelve months with a deserved TikTok explosion propelling their ethereal, cinematic and orchestral soundscapes to an international audience. We caught up with the Strawberry Guy himself, Alex Stephens, to chat new material, Liverpudlian influences and finally taking their debut LP, ‘Sun Outside My Window’, on tour.

2021 was a huge year for you, how do you reflect back on the last twelve months?

“It was pretty crazy, I feel like I had to learn a lot very quickly. Gradually realising that my love of writing music had quickly become a career was overwhelming at first, but I am incredibly grateful for it. I had always envisioned myself doing music but had never thought I’d be able to live my life doing it full time. It’s really amazing knowing that my lifelong dream has come true - I can now do what I love all the time.”

It must’ve been quite surreal seeing ‘Mrs Magic’ take off in the way that it did. “‘Mrs Magic’ was written pretty quickly, and recorded over a few days. Usually, I take a lot longer to write and record songs but this one came out unusually quickly for me. When I had finished the song I remember taking a seat and listening to it through my bedroom monitors, and thinking ‘this is the best song I’ve ever written’. But, it didn’t really ‘take off’ until a year-and-a-half after I released the song. I remember looking at my Spotify For Artists app and seeing the stream number go through the roof, I couldn’t believe it. It actually didn’t really sink in for a very long time and I found it incredibly overwhelming at first, but gradually learned to be more comfortable with it. Looking back now, I’m really happy that it was that song that took off specifically, because I really did feel something extra special after writing it. It’s a feeling I’m always chasing when writing new material.”

Since living in Liverpool, how has the city influenced your music?

“I’m not necessarily directly inspired by the urban nature of Liverpool as a city, more so the wonderful musical heritage it has to offer. The more time I spend here the more influenced I feel by it. I am currently listening to a lot more of Paul McCartney’s solo work and am especially loving the album ‘Ram’.

I had a few comments saying that my song ‘Company’ sounded Beatles-esque, which

I certainly wouldn’t complain about! I think their music sounds so pure and real to me, and will forever be an inspiration. Another Liverpool artist that has inspired me recently is Jimmy Campbell, especially the song ‘Loving You Is All I Do’, it’s a shame that his music isn’t as well known, there’s a real sense of honesty and beauty to it.”

What can we expect from the follow-up to ‘Sun Outside My Window’?

“I have recently bought some new instruments to work with. This should open me up a lot more creatively as I worked with the same gear across ‘Taking My Time To Be’ and ‘Sun Outside My Window’. So my new work should sound fresher! Emotionally though, I feel I am taking the same approach I’ve always taken, allowing my emotions to fully drive my creative process, and not forcing anything to come out if it doesn’t want to. I’ve already started writing new material for my second album which I’m incredibly excited about. I’ll start recording it soon I think. In terms of new music, I may flaunt some new ideas on social media, but you may have to wait until 2023 for any releases!”

What’s next for Strawberry Guy? “A lot more live shows. It’s something I really want to grow this year. I have a five-piece band that I really want the world to hear. We’ve done so much work on perfecting the live sound. In previous years I’ve been a bit tucked away as a bedroom artist in the live respect of things. I can’t personally wait for this year as I haven’t really done a tour as Strawberry Guy yet. This year is the year!” •

Don’t expect new music, but many a live show are on the horizon this year for Strawberry Guy. Writer: Jack Parker Photos: Emma Lavelle

L ICKS MAG A Z IN E

WE BELIEVE THAT

MU S I C M I N DS MATTER 0808 802 8008

If you work in music and are struggling to cope, contact us.

musicmindsmatter.org.uk | helpmusicians.org.uk

Registered Charity No.228089 | SC04625

J A I S A

K A

E C

South London soul-pop singer-songwriter Jake Isaac has seen his career develop from session drummer to writer to acclaimed solo artist and an award-winning short-film director. Now pushing the boundaries of his creativity in the acting world and putting pen to paper on his untitled third LP, we sat down with Jake to discuss new music, typecasting and big-screen ambitions.

On learning the craft.

“The two tapes on rotation in my Dad’s Volvo saloon were ‘Graceland’ by Paul Simon and a Mozart compilation. Don’t ask how he got listening to those two but they would play all the time and were what introduced me to music. I also had church when I was growing up so was heavily involved in gospel music. Then, around the age of sixteen, when I was playing drums at a grade eight level, I got big in jazz. I was a proper jazzhead. I was listening to the likes of John Scofield, John McLaughlin, John Coltrane.

“After that I got into session playing, which at the time seemed crazy to me. I couldn’t believe that people would pay me to play the drums. I’ve got church to thank for making the transition to playing as a session musician.

There are a lot of sensibilities you learn when you grow up playing in a church, that was where I learned how music progresses. Lots of people spend time learning that but I was

naturally learning from Sunday to Sunday.

So when I started working on the pop stuff it felt really easy to me. The only thing I had to work on was my showmanship. As a teenager I auditioned to be Natalie Imbruglia’s session drummer and I didn’t get the gig. A friend of mine said to me after ‘you’ve got to look like you’re having the best time in the world’. So I had that side of things to learn.”

On going solo.

“When I was at university I wrote little love songs in my bedroom and taught myself to play guitar when I should’ve been studying.

After uni, a friend came to me and asked if I’d ever considered writing music for others. So, I gave that a try. The first song I wrote, ‘Broken’ was on the boyband Blue’s comeback album - which was nuts. After that, I started getting involved in writing camps for other artists, and then one day somebody heard me sing and he introduced me to my first manager.

Two years later, I was playing Glastonbury.”

LICKS MAGAZINE

“As a Black guy there is an expectation to do R&B and to fit into that scene but that wasn’t my thing.”

On being pigeonholed.

“As a Black guy there is an expectation to do R&B and to fit into that scene but that wasn’t my thing. At the start, I was in and out of A&R meetings up and down High Street Kensington at major labels, and everyone was putting me into an urban bubble. I had a meeting with an A&R one morning, and I walked into this guy’s office and he shouted at me ‘you’re the next big motown act’. I was like, ‘bruv, what does that even mean?’ I think that led to a lot of conflict for me working out what type of singer I was. Fast forward to now, I know that I’m a singer-songwriter who does soul music but back then it was difficult to break away and do your own thing.

“I think the gatekeepers have changed in the music community to involve more ethnic minorities. And there are more white brothers and sisters that understand it and get it, they’re not as narrow-minded as the older generation. Streaming has helped to open up the genre conversation too. Fortunately, I think we are in a time where people will be into your music, no matter what you look like.

So, I think things have become a lot better.”

On producing and acting.

“I’d been toying with the idea of getting into film and when I made my last album, ‘Honesty’, I took the opportunity to continue the narrative with a short film. I phoned in a few favours from friends to bring a crew together and we shot ‘Brutal Honesty’ in a hotel room in Margate on a tiny budget.

It was a real, collaborative experience. It communicated the songs really well, so I was really happy. We were presented at five film festivals and won three awards off the back of it which was a little bit nuts.

LICKS MAGAZINE

“I’ve not told anyone this, so you’ve got an exclusive here, but I’ve been offered some acting gigs and I’ve just shot a Netflix film over in Holland. The whole experience has felt quite natural to me as I’m used to performing through my music. It’s another form of expression and I’m loving it. It’s a privilege to be able to step into other people’s stories.

Nothing extraordinary happens without risk. I think it’s important that people step outside of their creative comfort zones in order to see what else they can evolve into.

The unknown ground is what excites me.”

On new music.

“Literally right now I am writing it in my office. This next album is going to be a really British-focused album. The last album had a bit more of an American focus but this time I’m collaborating more with British artists.

I grew up on soul music and, now that I feel it is fully accepted in the UK, It feels like time to lean into that. I’ve been listening to British soul artists like Adele and Amy Winehouse who have inspired me to record the album live as well. There might be a single as soon as this summer. I dunno, let’s see how it goes. Not too long, hopefully.”•

You can expect everything from big and small screen roles to live gigs and new music this year from Jake Isaac.

Writer: Jack Parker Photos: Oystein Haara

ISSUE 5

TASTE IN MUSIC

WALLICE

JAKE ISAAC • PORSH BET$ • ABBIE OZARD • STRAWBERRY GUY

£5 / $7