SINEAD O’BRIEN £5 / $7 CAT BURNS • GEORGE RILEY • SPACEY JANE • IDER TASTE IN MUSIC 6ISSUE
Josh SabiyhaRuariMeghanLilyLaurenceKatieAbermanHubbardKellyBlakeney-EdwardsWealeWhiteRasheed TallulahMariekeFanchonCamilleStruttBagnaniDehillotteHulzingaWebb
COVER PHOTOS Holly Whitaker (Blu DeTiger) Hannah Driscoll (Sinead O’Brien) BUSINESS DIRECTOR Richard Hannan
As always, a massive thanks goes to all of the team behind the scenes for their hard work and dedication to not only bring together this latest print but to have represented LICKS at SXSW, The Great Escape, Kilby Block Party and Glastonbury Festival already this summer. Whatsmore, thanks to everyone’s efforts, we’ve gone green! And I must thank everyone for their research and commitment to making this magazine carbon Inneutral.thewake of the devastating news that Roe v. Wade has been overturned by the Supreme Court, we’ve taken this opportunity to highlight the work of non-profits in Texas who advocate for safe, pro-choice healthcare. We have also taken the time to find more groups like this across the United States who are advocating for women’s rights and you can find a list of these on our website. If there are any that we’ve missed, please let us know. Enjoy the sun and, if we don’t see you around, we’ll see you in autumn for issue seven. Editor-In-ChiefParker Scripps Callum Crowe Jenny McDowell-Langford
ISSUE SUMMER6 2022 ART DIRECTION & DESIGN Meghan Weale EDITOR-IN-CHIEF Jack Parker EDITOR Dan Flood WRITERS
Jack
Welcome to LICKS. With spring rolling into summer, festivals back in full flow and the taste of warm cider on our tongues, it seems fitting that the artists in these pages have inspired conversations of togetherness, openness and creativity.
CONTRIBUTORS Aaron Watts Ana
LETTER FROM THE EDITOR CHIEF-EXECUTIVE-OFFICER@LICKSMAGLICKSMAG@GMAIL.COMLICKSMAG.COM Jacqueline
None more so than the two cover artists who adorn our sixth issue. Limerick’s singer, poet Sinead O’Brien talks us through her stunning debut album, working under Vivienne Westwood and finding her voice. While New York’s bassslapping, funk wunderkind Blu DeTiger speaks of exciting new collaborations, connecting with her fans and bringing the bass into the spotlight.
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.
THE GREAT ESCAPE ARTIST: TAAHLIAH
PHOTO: HANNAH DRISCOLL
AGAINROADTHEONONTHEROADAGAIN SINCE ISSUE 5, FESTIVAL SEASON HAS KICKED OFF AND WE’VE BEEN BUSY HOSTING STAGES AT SXSW & THE GREAT ESCAPE, AS WELL AS SHOOTING ONSITE AT KILBY BLOCK PARTY & GLASTONBURY. HERE’S WHAT WE CAPTURED!
Photos by Camille Bagnani
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IDER LICKS MAGAZINE
How did you find the process of going back to these songs?
“When it comes to the beautiful, fragile beginnings of an idea I think there is a magic to coaxing it out and carefully crafting it as a pair.”
You’ve re-worked some of your songs for new EP ‘shame(less)’, what was the motivation behind this?
Meg: “The key influences for the tracks were probably Phoebe Bridgers, James Blake and Nils Frahm. They’re definitely people we always listen to, and are very influenced by generally, but for this project we took more inspiration from the instrumentation, and how they produce their music.”
Lily: “For me, the hardest part was letting go of the album versions, and letting the songs recreate themselves. It’s too tempting to fall back into building the riff sounds in a similar way, or even performing the vocals the same
TWO-PIECE
Meg: “We’ve always loved to create contradictions in our music - for example, upbeat pop songs with introspective, dark and thoughtful lyrics. It’s kind of become the ‘IDER signature’. However, the writing process doesn’t usually start this way. It often begins much more stripped back - just our vocals and a piano or synth. The songs can feel completely different like that. The meaning behind the lyrics can even come across in a new way - more sincere, and much more melancholic. We wanted an opportunity to allow some of our songs to exist like this, and give a window into this earlier stage of our songwriting.”
IDER HAVE MADE A NAME FOR THEMSELVES WITH THEIR DEEPLY PERSONABLE BRAND OF POP. NEW EP ‘SHAME(LESS)’ FOLLOWS UP ACCLAIMED EFFORTS EMOTIONAL EDUCATION (2019), AND SHAME (2021) WITH A REIMAGINING OF FAN-FAMILIAR TRACKS. WE SPOKE TO MEGAN MARKWICK AND LILY SOMERVILLE ABOUT THE NEW MATERIAL. when maybe they needed to be softer or “Oncelooser.we found the groove with them though, it was so much fun. We leaned into the drama of the melodies and lyrics in a way that we didn’t explore on the album.”
You’ve just finished an extensive tour after a long hiatus, how was it to be playing live again?
Meg: “I’ve missed sharing a connection with people in the same space, and the context and purpose that is given to the music. It all falls into place and just makes sense when you’re in a room full of people, all experiencing something together.”
Lily: “It’s been so fulfilling to be back on tour after two years! I think the thing that has changed the most is just how much we enjoyed it. Partly because through the pandemic we saw what life is like without performing live, so we felt a lot of gratitude for the opportunity to do it again. And because taking time away from touring has allowed us to step into ourselves in a new way, we’ve experienced newfound confidence and a sense of belonging. It’s helped us to own our place on the stage and share our world with people more deeply.”
IDER
“We leaned into the drama of the melodies and lyrics in a way that we didn’t explore on the You’vealbum.”beenclose friends for a long time now, how does that relationship influence your creativity?
What are you most excited about for the future?
Words by Katie Hubbard Photos by Dani Monteiro
Meg: “Working as a pair is precious. It allows a single person’s voice or story to be told without too much dilution. There’s definitely a time and a place though, for more people and more input. But, when it comes to the beautiful, fragile beginnings of an idea I think there is a magic to coaxing it out and carefully crafting it as a pair.”
Lily: “I think the strongest thing about our creative friendship has always been our ability to be vulnerable with each other and to hold space for one another. I think that the unique, feminine strength that we share has only deepened and evolved over time. I hope that growth is reflected in the music we make, especially as we become more able to be honest and brave in what we create.”
Meg: “I would say diving into the next chapter of IDER; always writing and producing new music, working with new people, expanding our vision and settling into our thirties. We’re feeling very happy to be entering into a new decade, to be honest. Slightly concerned that we won’t have the angst of our twenties to write about anymore but feel empowered and strong in what we’re doing.” •
IDER’s beautifully reimagined mini-EP ‘shame(less)’ is out now and we highly anticipate the empowered new music their thirties have in store.
Having shot as high as second place in the UK charts with the unstoppable ‘Go’, playing sold out shows across the UK and becoming a must-see on this summer’s festival circuit, London singer-songwriter Cat Burns has already had a year to remember. With the release of her new EP ‘emotionally unavailable’, we caught up with Cat to discuss authenticity, inspiration, and what goes into her music.
CAT BURNS
What lies ahead for the rest of 2022?
Do you think that you being openly queer will help other artists to also be comfortably out? “I hope so! I haven’t really thought too much about how it might inspire other people as it’s just who I am. It means a lot to people to see themselves represented but I think for me, those are just the spaces I’m in and the people I’m around. I hope people feel inspired to be themselves and make their music however they want to.”
“Festivals! And generally, a lot of live shows to make up for lost time. For a lot of new artists, you usually build your fanbase through live shows, but I’ve sort of done it the opposite way around. I’ve developed an online following, and I’m now playing catch up. My new EP, ‘emotionally unavailable’ is out now, which is exciting. Give it a listen if you want to hear about anxiety, friendship breakups, mental health breaks, abandonment and commitment issues. It is all about how emotionally unavailable this generation is.” • You can stream Cat Burns’ new EP now and act fast to catch her live in London at KOKO on October 4th.
Is it a form of catharsis for you to just pick up a guitar and express yourself?
Photo by Adama Jalloh
What has your experience been, in an industry that notoriously stereotypes Black women?
“Definitely. When I’ve gone through something, a couple of months later, I’ll sit down and write about what’s happened. I can never do it straight away, I have to wait until it settles. When I’m no longer thinking based on emotion and I can look at the situation logically, that’s when I can write about it.” Your songs exude a strong sense of vulnerability. Do you find it difficult to put yourself out there like that? “No, I think music should be authentic. Being open in my music has allowed me to heal and help others. I think you can only do that when you are being real and genuine. The music and artists I love are the most authentic and the most honest, so I’ve never felt uncomfortable sharing personal things. It’s a part of my story. I came out, and because I write about things that are going on in my life, that then became the subject of my songs. “I always said that I wanted people to feel represented, so in my music videos and songs, I don’t want to overly gender anything. That way anybody, with any pronouns, can listen to it and feel like it’s still for them. I want to show stories that wouldn’t always be represented and I want everyone to feel included.”
“It’s going to take a lifetime for things to be completely equal and how we want them to be. I don’t necessarily feel like it’s changing. For me, it’s important to be yourself. I know how I want to dress and present myself and I don’t want to be overly sexualised. There are other artists who are different from me and want to be confident in their bodies and wear what they want and that’s great. Everyone should do what they feel comfortable with, that way we can all express our individuality.”
Words by Sabiyha Rasheed
LICKS MAGAZINE
Which artists have been most influential to you? “The main artists are Tori Kelly and Ed Sheeran, I love how their lyrics are the most important part of their music. But also artists like India.Arie and Tracy Chapman inspire me, I listened to lots of their music when I was young. I would hear a run or riff and just keep practising until I got it right. “I’ve realised that I love musical theatre also, and I love the drama that it comes with. Me and my mum and sister have always gone to the theatre so the drama of those songs, and even the enunciation of their words, has really influenced me.”
IRISH SINGER, SENIOR FASHION DESIGNER TO VIVIENNE WESTWOOD, AND POET, SINEAD O’BRIEN , IS YET TO FIND THE LIMITS OF HER ARTISTRY. ON THE EVE OF THE RELEASE OF ‘TIME BEND AND BREAK THE BOWER’, SINEAD TELLS ALL ABOUT HER STUNNING DEBUT ALBUM, IRISH INFLUENCES AND TAPPING INTO ALL ASPECTS OF HER CREATIVITY. O’BRIENSINEAD
“WITHOUT SOUNDING TOO GRANDIOSE, I THINK IT’S LIKE MY MANIFESTO, AN IN-DEPTH STAMP OF ME. IT IS ME.”
depth stamp of me. It is me, it is the band. I think it is as much a statement about myself as it is a prediction though. Like a coin I can toss and get answers from, somehow. If you want to start listening to my music, start there and work backward, and then when you’re done I’ll probably be working on new stuff and you can follow the journey. “This album is my biggest body of work, so far, and I wanted to use it to say more. It goes in more extreme directions. For example, there’s the more upbeat and danceable stuff, and that part is so important to me but I’m not sure if people will know that. I love dancing, I’m high energy, and it’s the opposite end of the spectrum to a poem. If I can imagine a festival, and people are dancing to an epic poem I wrote about, I don’t know, an ancient painting of a fish, that’s something new for me to try. I love that challenge. There are also the calmer moments, the songs which are really about lyrics, where the music is more of an ambient bed. I’d ask questions like, ‘How can I do that live in a really modern way? Should I pull from a Samuel Beckett production? Should I be offstage, should I use the speakers, or do I want a full band?’ The album has been a real chance to explore all the temperatures and tones of how I want to work. “I see writing songs, like being an editor. I collect raw material, and then I work with them. You don’t have On finding her voice “Finding my voice came very naturally. The words take the lead. I remember when I first started I had to make a quick decision on how I should deliver the words, and I chose to be quite loud and strong with my deliveries. I had a belief in what I was saying, and I want and need a connection with those listening. I had to make sure it wasn’t a solitary act, as I often pose questions and so I need and depend on what’s coming back to me. My delivery grew over time from there, and it adapted to match the music, the tonality, and the rhythms of our songs. Ultimately it’s very natural, and I find my delivery is more varied now and is a true expression of how my words pour out of me. “In the summertime of last year, I was still at my design job, but once I had written ‘GIRLKIND’ I realised it was time to give my undivided attention to doing the album. Now it seems like musicians always have so much going on, writing albums while touring or juggling lots of jobs, but I wanted to go back to how it used to be and take time off to completely focus on it. You only get to do your debut album once, and it really dictates how things will go from that point on. We ended up getting it done by Christmas, it was a really neat process!” On the debut album “Without sounding too grandiose, I think it’s like my manifesto, an in-
SINEAD O’BRIEN
“ AVIVIENNE,INFLUENCEDTHANRATHERBEINGBYITWASCHALLENGETOBECOMEMYSELFASQUICKLYASPOSSIBLE.”
SINEAD O’BRIEN
crazy to help me conjure up passion. That’s not to say I can’t be gentle, but I want to be matching the words I’m about to speak, and I want to create the image that matches what the fuck I’m saying. I can’t just have a pint in the pub before I’m on stage. It’s not an instinctive memory, it’s me finding the energy to create that performance. I remember the first time I performed, and I had the words in a notebook. I read them, and then they were in the air. I remember feeling like they were just left there, and how weird that felt. So from then on, I wanted to try and put them in the air, with purpose.”
On Ireland & poetry
“I’ve actually recently gone there and recorded some demos on my own, which is weird because I’m never completely on my own. It was quite scary actually, you hear weird things. But I remember thinking, ‘how will this sound? Will it be informed by the landscape?’ I don’t want to write sentimental things about that, it just feels a little old and dusty. But I found that instead I actually was hyperfocused on what had happened to me in the last few weeks, and that’s what it was almost entirely about. There are parts of the album about Ireland though, that touch on how it looks, how it calls to me and religious iconography. I think when I touch on nature it’s more about the brutal reality of nature, and the lessons we can learn from it. How it shows us much control over what comes out, you just have to make stuff and then gauge if it’s good enough. I wanted it to be a deep dive into me, basically, so I needed those raw moments where the human voice is the focus. It’s also important to remember we learned lots along the way. You don’t start a project and stay the same. I remember asking so many questions, every single recording session.”
On fashion & performance “I felt like I didn’t really work in fashion, but more in the ideas section. Which was good because I don’t really like fashion people. I’m not like that. The reputation is well earned, and it could be quite nasty. But, Vivienne Westwood taught me so much; she mentored me for years, taught me how to rationalise design, and how to have arguments about what I wanted. I think, rather than being influenced by Vivienne, it was a challenge to become myself as quickly as possible. I never wanted to have a fashion brand, so that’s why I ended up working on this project instead. I don’t want to manage a business! And, while I thrived on the creative work, there was always this thought that what I was making wasn’t mine. It was always someone else’s. So music became the main outlet for my creativity. “I’ve certainly grown more fight in my performance. It’s not necessarily that I’m fighting against anything, but I find something to drive me
“I have recently discovered my favourite writer, called Flann O’Brien. Dan Carey (producer) actually recommended his book ‘The Third Policeman’ to me, and it’s so very Irish. It uses local dialects and touches on surreal topics, but also has this constant absurdist humour. His work is very giving. I find it difficult to think of modern Irish writers. This is what I’m hoping to be a part of. With music, there’s so much; Gilla Band, Fontaines D.C., Just Mustard, For Those I Love. There are so many doing so well. There’s even a spoken word scene growing in Limerick! But who are the poets? Who is my age, in Ireland, doing traditional poetry? I couldn’t tell you.” On playing live “I actually prefer bigger venues. Really early on we had the opportunity to support big bands in big venues, like Pond in Paris, and I felt better there than I did in a dive bar. Now I’m good in both though, I understand the dynamics. I do think though that I do well in disaster and challenge, better than the average person that is. I know what I’m working for in that instance, and I like the uphill climb, it focuses me. For example, we are playing with Duran Duran in front of twenty-thousand people.
LICKS MAGAZINEtoberesilient for survival. Ireland, in particular Dublin, does come up a lot through place names and other aspects, but its not necessarily a conscious decision to include it.
“I’m saving the full album for the proper album tour, but the in-store shows now will be a selection of songs from the album. Likewise, the festival setlists will be a mixture. But I really want to save the album, in its totality with the poems and different deliveries, for the autumn album tour. It will be a complete show, further developed than before. It will still be spontaneous, not overly boxed or framed, but just designed around a bigger scope.” • Sinead O’Brien’s debut album ‘Time Bend and Break the Bower’ is out now.
I also performed on Jools Holland recently, that was amazing. I thought all the bands would be kept separate, and then I found my room next to Liam Gallagher’s. Like, no one even told me he was going to be here. He came up to me after the gig saying we were good, I couldn’t believe it.
Words by Callum Crowe Photos by Hannah Driscoll
SXSW was amazing, so chaotic. I played a show in a whiskey bar with no monitors, and I played like I was in a metal band! The BBC stage was then the opposite, packed around the corner with a great setup.
Like, what the hell?! How does the sound even reach that many people? But something like that gets me so “Iexcited.remember
Congrats on the new record, ‘Here Comes Everybody’. What can people expect from the album?
ARE BACK WITH ACCLAIMED SOPHOMORE EFFORT ‘HERE COMES EVERYBODY’. LEAD SINGER, CALEB HARPER TALKS US THROUGH THE NEW ALBUM, TOURING AGAIN AND FINDING CONNECTIONS THROUGH SHARED EXPERIENCES.
SUNKISSED DEBUT ALBUM
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SPACEY JANE
“It feels like more of a cohesive record to us. We thought about every aspect and tried to avoid cluttering sounds wherever we could so it’s a cleaner and more considered album. It feels slightly less guitar-driven overall as we tried to find the inspiration in other sounds this time. Also, expect more sad songs.”
“It started in the early stages of COVID when it felt like the only thing we could do to still feel like a band was writing songs. We had a lot more fully formed ideas going into the studio this time so we had a clearer vision for what we were doing and we had the mandate to do things differently.”
SPACEY JANE SUCCESS THEIR ‘SUNLIGHT’, PERTH’S JANE
What was the songwriting process like for this record? Was there a clear idea when you went into the studio?
OF
AFTER THE
“I don’t think I had one which was part of the reason that idea was important to me. In saying that, ‘Youth And Young Manhood’ by Kings of Leon definitely soundtracked a few important ‘fuck you’ moments for me around “We’ve realised how so many people have these shared experiences and that allows the songs to take on different meanings to different people.” the age of sixteen or seventeen and I’m really grateful for that record.” You’ve hit some pretty hefty milestones with over one-hundred-and-fifty million streams and being featured on Triple J Hottest 100 - why do you think so many people have connected with your music? “We feel very lucky to have that kind of support and engagement. I’m not really sure what it is exactly. I think if we knew it would be kind of cheating like we’d unlocked some secret formula. I always try to be really honest in my songwriting and talk about the things I’ve been through and how I’m feeling. And, we all work so hard on every part we bring to a song. We’ve realised how so many people have these shared experiences and that allows the songs to take on different meanings to different people.”
“So much touring! It’s truly amazing to be hitting the road again and connecting with people in a physical space is the final form of songwriting for us and something we all live for. We’re also talking about moving to the US in early 2023, so that’s super exciting!” • Spacey Jane’s new album ‘Here Comes Everybody’ is out now via AWAL Recordings.
You worked with producers Dave Parkin and Konstantin Kersting on the new record, what did they bring to the music? “They’re both brilliant at what they do and brought different strengths to the record. Dave produced ‘Sunlight’ and we have a great relationship and love working with him. We reached out to Kon because he operates heavily in the pop world and has done some really cool work there (Mallrat, Tones and I). He wasn’t necessarily an obvious choice for us but we wanted a record that felt different and bringing in new people and working in new spaces was really important for shifting that sound.” What was your favourite part of making the new album? “There were so many great moments for us, but when Ashton (Hardman-Le Cornu, guitarist) and I had to fly to Brisbane to finish our parts on the record that was a standout moment. We bunkered down in an Airbnb for three weeks and went into the studio every day. We really lived in the record for that time and learned a lot about writing and ourselves. It was awesome.” You refer to the new record as being a guide for people ‘under the weight of our generational burden’ – what records served this purpose for you growing up?
Words by Laurence Kelly Photo by Michael Tartaglia LICKS MAGAZINE
What’s next for the rest of 2022?
FOLLOWING A SUCCESSFUL RUN OF SINGLES, INCLUDING STANDOUT TRACKS ‘MOVE’ AND ‘TRIXXX’, WEST LONDON SINGER GEORGE RILEY SHARES INSIGHTS INTO HER PROCESS AND PLATFORM, LOOKING AT THE PRESSURE IMPOSED ON ARTISTS TO COMPETE, AND BREAKING GENRE MOULDS AS SHE PREPARES TO RELEASE NEW MUSIC. London has such a vibrant music scene, blessed with many cultural influences. Has growing up there influenced your sound?
GEORGEGEORGERILEYRILEY
“It varies quite a lot depending on who I’m with. If I’m really comfortable, it comes easy, so I try and have fun when I’m writing. And, I try to not be hard on myself. Someone once
“Absolutely, yes. Especially as a teenager. In that ‘fake ID’ period of life, I was listening to loads of dance music, meeting lots of people, passing through groups of friends and having those late-night conversations. I think there’s something to learn from pretty much everyone, too. I’m not out so much like I used to be, but growing up in a city you’ve got so much opportunity for worlds to collide. And I’m a sponge; I soak it up and keep it moving.” What does a typical writing session look like for you?
What does the future have in store for George Riley?
LICKS MAGAZINE
Words by Sabiyha Rasheed Photo by Siam Coy
Do you feel that it’s hard to break out of the mould that the White-dominated industry has set for Black artists? “It hasn’t so far been an issue for me, I don’t think. Although I flit between genres, my voice is pretty consistent with typical R&B connotations. I can imagine being indie and Black must be hard, especially as a woman. There’s more of a visible history of Black men in the indie space, and I wonder how many Black women indie artists have been forgotten. At an award show level is where I really notice it. For example, Doja Cat, for me, should be in a pop category. She had one of the biggest albums of last year but still can’t get in the same lineup as Dua Lipa! No shade to Dua Lipa, but we’re meant to be making more space, not less.”
‘Cleanse Me’ is about the whitewashing of climate activism. Do you think it’s important for artists to use their platforms to highlight issues? “I’m pretty conflicted. Even if you have good intentions; ultimately you are trying to sell your art, build a career, pay rent, etc. It’s paradoxical that speaking out on certain issues might directly benefit you financially. The road to hell is paved with good intentions, I guess. I do think there is a responsibility though. People are really stupid, including me sometimes. We form rigid opinions and speak, defend and denounce passionately on topics we know nothing about, and feel vindicated speaking on them because we decided an artist whose music we like, whose lifestyle we want, guarantees their validity. I don’t know if that’s the artist’s responsibility, or the general public’s to be more discerning. Either way, there’s a blurred line. Right now, I’m just gonna keep trying to be a good person IRL and leave the music to do its thing online.”
said to me ‘writing music can be like running a dirty tap until the water runs clear, you gotta just keep it light - keep the ideas coming until you get something good’. As I’ve got ADHD I like moving quickly and keeping things flowing. There’s no doubt that I’ve written probably thousands of songs, and a lot of them are bad, but we move; we keep trucking ‘til we get the good stuff.”
“Yes and increasingly I think it’s happening to everyone, it doesn’t matter what your gender is. Social media pushes people to show off a certain lifestyle, but the crazy thing to me is that people really believe it about themselves, even if they don’t live it. They truly believe their own hype that they’ve created. I guess to an extent, you have to. The flip side is how quickly you can go from being someone’s friend to an enemy. Everyone’s eager to be friends when you’re popping but will pull you down without hesitation to make room for themselves. The majority of my good friends have nothing to do with the music industry, and I hope that keeps me grounded. Reality is subjective; I certainly don’t live in it all the time, but I try to keep it close.”
“I’m planning to release new music very soon and I’m really looking forward to it. It’s my favourite work to date. I’m also hoping to expand on my live show and make it really fabulous. I’m so grateful that I get to do this, I don’t take any of it for granted; tomorrow is most definitely not promised.” • Expect new music and a fabulous live show coming soon from George Riley.
“Reality is subjective; I certainly don’t live in it all the time, but I try to keep it close.”
On ‘TRIXXX’ you talk about competition. Do you believe that the industry and social media create a culture that pits artists, especially women, against each other?
Words by Callum Crowe
Words by Katie Hubbard
Words by Ruari White
NOW 4.3 / 5 4.2 / 5 4.0 / 5
ALBUM REVIEWS
‘Every Single Thing’ is a polished amalgam of the familiar playfulness we have come to expect from Will Joseph Cook. Brimming with allusions to past, present and future romances, the album is consistently streamlined through an excellent indie-pop sound and production. ‘Kisses’ nails the sonic essence of jovial romanticism, whilst others like ‘Little Miss’ and the aptly titled ‘BOP’ contend with one another for the position of ‘ear-worm’ hours after listening. Yet, the album does not shy away from tender moments either. ‘Today, It’s Raining’ and ‘The Feels’ remind listeners that love is as melancholy as it is joyful, facilitating a welcome change of pace from an array of upbeat tracks. In effect, the album asks us to join Will as he explores the ups and downs of falling in love, and the resulting journey certainly does not disappoint.
‘Sprout’ is the beautifully tender, eponymous EP from the Burnley singer-songwriter of the same name. A fan of folk music, Ella Fitzgerald and the golden age of cinema, Sprout’s influences effortlessly weave themselves throughout the six glistening, bluesy-folk tracks. Themes such as insomnia, loneliness and depression are covered with ease in this immersive debut, with Sprout’s tender style drawing you into their delicate world. Melancholic, heartfelt and understated, Sprout’s biggest achievement is knowing when less is more.
‘DOWN TOOLS’ Mush OUT NOW LICKS MAGAZINE
‘SPROUT’ Sprout OUT NOW ‘EVERY SINGLE THING’ Will Joseph Cook OUT
Mush haven’t tried to rip up the rulebook on their third album, but instead have focused on enhancing their craft. As ever, the instrumentation is deceptively simple with songs such as ‘Get on yer Soapbox’ built around driving basslines and repetitive guitar riffs, that combine to build anthemic crescendos making Mush sound bigger than Leadever. singer, Dan Hyndman’s striking vocals, coupled with his witty lyricism, effortlessly invade your mind, especially on songs such as ‘Groundswell’. This album is the mark of a band who have elevated their sound to the next level.
‘MAELSTROM’ Melts OUT NOW 3.9 / 5 ALBUMREVIEWS
‘SUPERNOVA’ Nova Twins OUT NOW ‘BIG TIME’ Angel Olsen OUT NOW 5
Therethroughout.isapowerful
‘Maelstrom’, the debut album from Dublinnatives Melts, exudes the effortless energy of garage rock whilst utilizing more sophisticated electronic elements, with the driving synths adding a touch of psychedelia
‘Maelstrom’ has established the musical prowess and distinctive style that proves Melts are destined to take their post-punk craft further than their Irish shores.
Words by Jenny McDowell-Langford
‘SIGNAL’ provides the highlight of the album, with the hurricane of guitar and mashed keys akin to a jumped up b-side from The Doors.
simplicity to ‘Maelstrom’ and its ferocious energy will definitely translate well to their intense live shows.
4.8 / 5 4.1 /
Raucous from start to finish with thrashing, industrial basslines, catchy vocals, and heavy riffs, ‘Supernova’ shows why Nova Twins are the leaders of the Nu-Metal scene. Unique and unexpecting, their debut LP is at its finest with tracks like ‘Cleopatra’ and ‘K.M.B’ effortlessly mixing Destiny’s Child-esque, early 2000s pop influences with the heavier sounds of metal and hip-hop. Though the album occasionally teeters too close to the noisy chaos territory, in the end, Nova Twins manage to deliver a frantically energetic triumph that serves as the perfect introduction to their world. It would be an understatement to say that Angel Olsen has been through some major life events recently. Coming out as queer, a new relationship, and the tragic loss of both of her parents preceded the release of her sixth album ‘Big Time’. The collection provides a beautifully intimate exploration of love and the overwhelming pain of loss in Olsen’s distinctive alternative country style. Grief understandably seeps through every pore of ‘Big Time’, with its crushing weight coming to a head on the lilting country blues of ‘This Is How It Works’. Olsen’s admission that it “took a lot to get me here” serves as a reminder of the devastating toll of loss. This album is a stunningly vulnerable collection of songs. The fact that ‘Big Time’ exists at all is testament to Olsen’s creativity and work ethic. An album aching with emotion, it’s impossible to listen to ‘Big Time’ and not be moved.
Words
Words by Katie Hubbard by Josh Aberman
BOLLINGERKATE
How did the new EP, ‘Look at it in the Light’, come together? “I wrote the EP over the course of several months without much of a plan or process in mind. I would write when I felt pulled by something or like I needed to get something out. Sometimes I would also write with my friends John Flynn Trainum (producer) and Chris Lewis (guitarist) and a few of the songs that ended up on the EP were made collaboratively. Once I had enough songs, the band and I spent several days at the studio in Louisa, Virginia and once the live tracking was done everyone else left and John and I stayed behind for a few days adding the finishing touches.” How do you feel you’ve developed as an artist since 2019s ‘I Don’t Wanna Lose’ and 2020s ‘A word becomes a sound’? “I have a much clearer idea of the kind of music I want to make now. Early on I was sort of feeling around in the dark a little, but now I think I know what I want and it’s more a matter of figuring out how to get to that.” What can we expect from you in the future? Is there an album on the way? “Yes! I’m working on writing an album. You can expect a dynamic album that (hopefully) will cover a lot of ground.” • Kate Bollinger’s beautiful new EP, ‘Look at it in the Light’, is out now via Ghostly International.
“I’ve been singing and making up little songs ever since I can remember, but I officially wrote my first song when I was eight years old. My mom and brothers both write songs, so I think I followed in their footsteps. It felt like the most natural thing to do! When I was little I loved pop artists like Gwen Stefani, JoJo, Avril Lavigne, and all of those 2000s singers. My brothers and my parents introduced me to a lot of music so I was exposed to lots of different music from an early age. Feist is my favorite artist since childhood and one of my biggest influences. I also love Joni Mitchell, The Beatles, and more recently Taeko Onuki and Elyse Weinberg.”
When and why did you decide to start making music?
Words by Ruari White Photo by CJ Harvey
VIRGINIA-BASED SINGER-SONGWRITER KATE BOLLINGER HAS RECEIVED INTERNATIONAL FANDOM WITH HER SUN-SOAKED BLEND OF INDIE, FOLK AND ROCK SOUNDSCAPES. WE CAUGHT UP WITH KATE TO DISCUSS GROWTH, INFLUENCES AND THE MAKING OF HER INTROSPECTIVE THIRD EP, ‘LOOK AT IT IN THE LIGHT’. LICKS MAGAZINE
How are you doing, Kate? “I’m doing well! I’m in Bellevue, Kentucky. We drove to Cincinnati yesterday from Virginia and will be playing the first show of the tour here tonight. Also, ‘Look at it in the Light’ is out in the world and it feels good! I’m excited to play those songs live and also to move on and make some new music.”
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DECARTERET Dublin, Ireland Amelia DeCarteret, also known as DeCarteret, has made waves with her hypnotic blend of neo-soul, jazz and R&B. Charmingly charismatic new single ‘Trip Me’ is the first release from the forthcoming debut EP ‘Crying & Cumming On The Bathroom Floor’.
EXPECT TO SEE THESE FACES EXTENDING THEIR LOCAL FAME TO THE NATIONAL STAGE.
AMAHLA London, England Mentored by the legendary producer Nile Rodgers, Amahla has already received critical acclaim for her nuanced lyricism and distinctive voice. One for fans of Amy Winehouse and Lauryn Hill.
Neighbourhood. LICKS MAGAZINE
OVERPASS Birmingham, England This Midlands outfit ooze youthful innocence and indie charm as shown on latest singles ‘Changes’ and ‘On Your Own’. Make sure you catch them live as they embark on their second tour across the UK this November, or at a myriad of festivals they’ll be popping up at this summer including Truck, Y-NOT and
CAT RYAN Newcastle, England Mixing beguiling, upbeat indie sensibilities with complex art-rock soundscapes, Cat Ryan are one of the most exciting new artists coming out of the North East. We’re eagerly keeping an ear out for their debut EP, promised later this year.
The brainchild of prolific Leeds indie songsmith Tim Malkin, Opheliah combines moments of quiet introspection, rich harmonic melodies and joyous refrains with an orchestral, cinematic quality akin to Brian Wilson or Andy Shauf.
BEST IN TOWN
With soaring vocals likened to George Michael, The Weeknd and Freddie Mercury, Shobsy is fast gaining interest both at home in Ireland and abroad. We can anticipate new music in the coming months from the Dublin-native to follow up on his eighties-inspired debut releases, ‘Vanity’ and ‘Driven’.
SHOBSY Dublin, Ireland
OPHELIAH Leeds, England
SUPERA MORZA Manchester, England
Combining blistering grunge with an inimitable sense of punk nihilism, Supera Morza harbour a wilful ignorance to the influence of the city they call home, instead taking cues from bands such as Nirvana, The Pixies and Fontaines D.C. to craft an incendiary and acerbic, unique sound.
HEADBOY London, England
Born from a Hackney Wick sub-let in 2020, the indie trio can already boast a soldout show at Brixton’s The Windmill and support slots with the likes of Goat Girl and Porridge Radio. New single, ‘Toothrot’, their second release with Blitzcat Records, paradoxically sways from lo-fi bedroom tones to tumultuous blasts of riot grrrl fury.
Dublin, Ireland
Beginning to write poems by the age of eight, and inspired by musical legends including Whitney Houston and Etta James, Tsharna found her passion for contemporary R&B later on. Releasing music independently since 2018, her debut EP ‘About That Time’ is poised to make a splash in UK R&B.
COLUMBIA MILLS
TRIPTYCH
LICKS MAGAZINE
Described as Ireland’s answer to The National, Columbia Mills have effortlessly merged indie and electronic to create two critically-acclaimed, anthemic albums. Expect new album, ‘Heart of a Nation’, this September.
TSHARNA Luton, England
Glasgow, Scotland
With loud riffs influenced by Biffy Clyro, Delta Sleep and Fugazi, this dynamic trio fuse off-time rhythmic meters and progressive math-rock forging today’s alt-indie and post-alternative grunge into one. After signing to emerging label Grunge Pop Records, Triptych are set to release their debut album ‘Sundown’ this fall.
NATE BRAZIER Bristol, England Nineteen-year-old British electronic production wunderkind Nate Brazier deftly flits between future garage, left-leaning hip-hop and alt-R&B influences to assimilate everything from his generation’s relationship with nostalgia to the DIY dance explosion taking shape.
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ISSUE 6 PLAYLIST LISTEN NOW AND DISCOVER YOUR FAVOURITE NEW ARTISTS ‘Blutooth’ by Blu DeTiger ‘Like Culture’ by Sinead O’Brien ‘Yards / Gardens’ by Kate Bollinger ‘gin + juice’ by Mysie ‘Malice at the Palace’ by Deezie Brown ‘cbb to b sad (shameless version)’ by IDER ‘Pulling Through’ by Spacey Jane And More ^ SCAN TO ^ LISTEN
NAME FOR
Who are your biggest influences?
SHOWCASE HIS SOUTHERN RAP
AND READY
When did you know you wanted to pursue music?
WORLD. WE SAT
“My uncle Corey was one of the first ones to show me a lane of creative expression other than sports. He has a unique perspective when it comes to art and music. He understands the hustle that comes with the music business. AND PRODUCER DEEZIE BROWN TAKES HIS MUSIC BEYOND THE BOUNDARIES OF THE GENRE. A HIMSELF IN TEXAS TO SOUND OF THE DOWN
WITH DEEZIE TO TALK INFLUENCES, COMMUNITY AND TREADING YOUR OWN PATH. DEEZIE BROWN LICKS MAGAZINE
TO THE REST
MAKING
“In the late ‘80s and early ‘90s my dad was a collector of Chevy automobiles and hiphop albums, artists like UGK, 8ball & MJG, and Outkast, so I grew up in love with the sound of car engines and rap records. I started writing after my moms bought me a Kenwood boombox. I’d record my vocals over old cassette tapes, using a Sony CD player full of industry instrumentals. Luckily for me, I had an older uncle, Corey.B, who was already established in the industry. It gave me the kickstart I needed when I was ready.
I recorded my first song when I was fifteen years old with different family members and some affiliates of the legendary DJ Screw. I understood then that music was something I wanted to do for the rest of my life.”
AUSTIN-BASED RAPPER
What is one question that you wish someone would ask you? “Simple. ‘How can we help you become a better version of yourself?’. You showed interest in me because you saw something that you really liked, which I created and brought to life. I can’t be another version of what you think I should be. I can only be the best version of myself.” • Deezie Brown’s debut album ‘5th Wheel Fairytale’ is out on August 2nd, 2022.
“Another early influence was DJ Screw as we’re both from Bastrop County, Texas. And, growing up in the ‘90s, Michael Jordan was a big influence on my creative approach when it comes to style and branding.” In most of your songs, you give a shout-out to Texas. How is the state ingrained into your work? “The Texas mixtape era plays a huge role in my music. Texas culture was something I was raised on, and I’ve always wanted to put my own creative spin on it. Texas doesn’t have a lot of resources and platforms built for an artist to take advantage of, without jumping on a plane to LA or NYC. It’s still important for me to continue to educate not only the world, but the youth, on how cool the South is, and to help build a better community so we have the same opportunities.” What was your first impression of the Austin scene? “When I first moved to Austin in 2013, it definitely felt like crabs in a bucket with only a handful of venues allowing hip-hop showcases. I was lucky enough to have an older cousin, Kydd Jones, to show me the ropes on conducting yourself as a live musician. It was extremely tough to fit in for a while, as an out-of-towner that only knew a handful of Austinites. But consistency, and watching from behind the curtains, helped with my progression in the city. Austin is a great place filled with so many talented artists. I’m just blessed to have been accepted and still look forward to helping push the envelope so the voices and talent are heard and seen globally.” A lot of your songs stand out for their strong, political messages. Do you consider yourself to be a particularly political songwriter? “I wouldn’t say I’m a political artist at all, but I am aware of my surroundings and understand that my voice will carry for centuries if not forever when I use it correctly. I say everything I need to say through my work, other than that I’m pretty closed off. However, the injustice we deal with on a daily basis, especially when it comes to hip-hop culture, gets brushed under the rug. My main goal as an artist is to give back to the community that helped build me.”
Words by Josh Aberman Photos by Justin Cook
The South London songwriter, multiinstrumentalist, and producer known for playing in projects such as Mellah and folk collective Broadside Hacks, has delivered a delicate, melancholic debut single that is wonderfully layered and expertly self-produced.
BEST VIDEO MUNA ‘WHAT I WANT’
Our team has put their heads together, fought it out, and settled on our highlights-in-hindsight, since LICKS #5. Let us know @LICKSmag what you think of our hit list from the last three months in music.
BEST DEBUT
To mark the release of their self-titled, brilliant third album, MUNA traveled back to the early 2000s in their latest music video for a wild night out on the town escaping tabloids and flip phones. A nostalgia-filled trip guaranteed to make every millennial feel old.
LICKS MAGAZINE
OSCAR BROWNE ‘NEVER QUITE RIGHT’
BEST SINGLE FLOWEROVLOVE ‘HANNAH MONTANA’
BEST COLLAB LAVA LA RUE X BIIG PIIG
Dark, dreamy and truly captivating, the Dundalk five-piece’s sophomore album is an eerie trip executed to perfection and one that would stand out in any musical era. Expect many award noms for ‘Heart Under’. Words by Jack Parker Wet Leg photo by Alice Backham
There’s no doubt that anyone yet to join the cult of Wet Leg hasn’t laid eyes on their unforgettable live show. Scarily delivering more than their hype, the set’s highlight goes to everyone’s longest and loudest scream during indie-banger ‘Ur Mum’.
Following up on 2021’s acclaimed EP, ‘Think Flower’, flowerovlove has returned with catchy, indie-pop bop ‘Hannah Montana’ which tells of her double life as an ordinary sixteen-year-old and also the UK’s next big pop sensation.
BEST ALBUM JUST MUSTARD ‘HEART UNDER’
BEST SHOW WET LEG @ BALLROOMELECTRIC
West London artist, director and shape-shifting creative Lava La Rue teams up with Irish singer/rapper Biig Piig to create the effortlessly smooth ‘Hi-Fidelity’ which fuses LA-inspired, eighties synth with funky basslines and sultry vocals. We eagerly await La Rue’s upcoming EP of the same name.
DETIGERBLU
Blu DeTiger has tackled circuit stages, the New York DJ scene and ridden the TikTok wave, all with her bass in hand. Now, with the stage presence of a seasoned pro and the funk-fused riffs to go with it, Blu heads into a packed festival season taking her disco-laced pop to the biggest stages yet.
“It’s so cool. Now I know what it’s like to not be able to play, I think I’m more present when I’m playing. It’s so much more hype now I’ve got the chance to play again. I’ll walk around the festival after my set and get to talk to people in person who have seen my show. I love meeting people. Being in this different era of COVID, I can actually meet people backstage and take photos with fans and sign posters after the show. It’s really heartwarming.” How did you first get into playing music? “I was really young when I started, like seven. My brother (Rex DeTiger), who’s a few years older, was playing drums at the time and I was like ‘I want to play an instrument too!’. I guess that the bass just kind of spoke to me because it was funky and different, and I hadn’t really seen it anywhere. I was introduced to major artists like The Beatles and The Rolling Stones at a young age, and later David Bowie and Led Zeppelin. I was really into classic rock bands and went through them all as I was growing up and learning how to play; copying all of those different songs. “I then got really into funk music and discovered CHIC and Bernard Edwards, who’s my favourite bass player. That’s when my style became more refined. I thought that those funk basslines were so sick, I was like this is the vibe I wanna give off. That’s when I got into learning slap bass and all those different techniques.” How was the transition from playing session bass to being front and centre?
BLU DETIGER
“Playing bass for someone else is a very different experience from being the person at the front and commanding the stage. Playing your own music is such a different feeling, but I’m really grateful that I have that background touring with other artists. It gave me so much experience being on stage. I became super comfortable with being in front of people, which doesn’t come naturally to a lot of artists. Learning the ins and outs of touring was really important too, and I’m glad that I got that experience. It was a change learning how to play bass and sing at the same time, and learning how to put on a show and how to perform my songs live in that different setting.”
“NOW I KNOW WHAT IT’S LIKE TO NOT BE ABLE TO PLAY, I THINK I’M MORE PRESENT WHEN I’M PLAYING. IT’S SO MUCH MORE HYPE NOW I’VE GOT THE CHANCE TO PLAY AGAIN.”
“I’m in LA right now. I’ve been playing loads of festivals this summer, so every weekend I’m at a different festival in the States. It’s been so sick. Each festival has a different vibe. We just played three in a row this weekend, and all the crowds were so different, and it was cool to perform in completely different settings. Festivals are always really fun, ‘cause you get to hang out and see other artists.”
How is it being able to interact with fans again?
How is your summer looking?
that I look back, the videos I was posting were kind of the same thing I was doing with my DJ sets. I’d be playing over a pop song, just performing for people via my phone rather than in real life, so it scratched the same itch for me as playing live. It also gave me confidence that people were into my videos and music. I had people saying that they went out to buy a bass because of my videos. Those little comments helped to solidify in my brain that people liked what I was doing.”
You’ve played DJ sets around New York City, has that influenced your own music?
Usually, when you go into the studio, there’s this atmosphere of ‘we need to make a whole song today and make it really good’. Making it alone with no time restrictions meant I had BLU DETIGER
“THEY’RE LIKE MY BROTHERS AT THIS POINT. WE JUST PLAYED AT RED ROCKS IN COLORADO, WHICH IS A SUPER ICONIC VENUE, AND IT WAS PROBABLY THE COOLEST THING I’VE EVER DONE.”
You worked on the your EP, ‘How Did We Get Here?’ with your brother Rex during quarantine, how was that? “We’re super tight. During the pandemic we had so much fun, we’d stay up all night making music because we had so much spare time. It felt really freeing. Making music with your siblings is really special, you have a bond that you can’t explain, you know each other so well. “It was intense, but at the same time, we didn’t have the pressure of a studio session.
“Definitely. With DJing, you have to know music really well. In my sets I’d play a lot of funk, disco and soul, sometimes playing four sets a night. I’d sometimes do open format sets where you have to mix all genres and play a bit of everything. “You have to learn the hits from every single decade; know every big song and see which songs bring people to the dance floor, and what makes them go to the bar or leave. All those different things are important in playing live; that vast knowledge of music is so key.”
“I was seventeen when I started DJing, and I just always brought my bass everywhere. I don’t think I’ve done a DJ set without it. I’d see saxophones and trumpets at DJ sets, but never a bass, and I thought ‘it’s all music, so why wouldn’t it work?’ I played it at my first set and the crowd went off, people were freaking out and filming it. The low frequencies of bass work especially well, and just hit you in that good place. It just became my thing. I’d improvise over the songs I’d play or add my own basslines, and I became a better musician for it.”
Although COVID stopped those live performances, you were able to build a great connection with your fans through social media. How do you feel that this has changed your career? “TikTok definitely accelerated my career so much, and I’m super grateful for that. There was a real sense of community, it was a special “Nowtime.
How did you think to incorporate your bass into the DJ sets and what was the crowd reaction like?
• With more collaborations and an album in the offing, Blu DeTiger’s ascension is only just beginning.
Words by Jenny McDowell-Langford
Have you got any new music on the horizon? “I have a song with Biig Piig coming out soon, and we’ve done a fun video for it. She’s really dope, and I’m excited for it. Then another few songs and working towards a new album. “I’ve been writing this album for a long time, like a year. You can keep working on something forever, but at some point, you have to decide that it’s done. Now I’m in the process of planning the vibe. It’ll probably be out at some point next year.”
Tell us about working with Chromeo on new songs ‘Blutooth’ and ‘enough 4 u’. “It was so amazing. I’m a huge fan of Chromeo. I’ve seen a bunch of their shows and I think they’re legends. We had some mutual friends who connected us, and we hit it off. I went to their studio and we just hung out and played music for each other. We decided to try working on a few songs. They showcase a different side of me, a truly funky, groovy side, and they’re really good at drawing that out of “They’reme. like my brothers at this point. We just played at Red Rocks in Colorado, which is a super iconic venue, and it was probably the coolest thing I’ve ever done. I was able to play with them during their set, and it was one of those major life moments like ‘shit, this is crazy!’”
Photos by Holly Whitaker Hair and makeup by Yasmin Khan
a lot of fun with it. I had time to sit down and just see what I’d make. I was writing whilst I was gaining new fans as my song ‘Figure It Out’ was doing really well on TikTok, so I was really creatively stimulated.”
LICKS MAGAZINE
How have you found being an upcoming musician in the pandemic? “It’s been an interesting one. It was a journey into the unknown, except this journey included all of us at the same time. During the pandemic, I created so much music especially online with my producers, Gold Spectacles. I feel like I saw them more than my housemates! Despite the uncertainty, I didn’t want to see the pandemic as a halt to my career. So it was super important for me to keep going and to keep creating. The pandemic brought so much perspective into my life I sourced so much inspiration during this time and went much deeper into my craft and into me as a person with no distractions. The one thing I missed most was going to see live music and perform live for my fans as it’s an energy that can’t ever be recreated.”
“To win such a prestigious award was such an honour, and for my songwriting to be acknowledged in this way confirmed that I’m heading in the right direction. Through the Ivors, producer Fraser T Smith (Dave, Stormzy) became my mentor. There’s been so much growth and I’ve learned so much about myself over the past two years.”
You won the Ivor Novello Rising Star award in 2020. How has that impacted your work going forward?
How has your year been so far? “Honestly, it’s been a wild one. My EP ‘joyride’ is out now and I’ve been sitting on that for a minute, so it feels like such a relief to have it out and to let it do its ting. I’ve also been on tour with Corinne Bailey Rae, and have just come back from doing my second festival at Knebworth alongside Kasabian which was mental! So it’s been a wild one, I can’t lie.”
What has it been like working with Fraser T Smith? “I always learn something new about Fraser every time we work together. He is such an amazing character, and he’s super honest, open, and just a great person to work with. It’s IVOR NOVELLO AWARD WINNER MYSIE HAS QUICKLY BECOME ONE OF THE MOST EXCITING NEW ARTISTS ON THE UK SCENE WITH HER MIX OF INDIE-SOUL SENSIBILITIES AND VULNERABLE YET RELATABLE STORYTELLING. THE SOUTH LONDON SINGER SAT DOWN TO TELL ALL ABOUT HER THREEYEAR ASCENDANCY FROM BEDROOM WRITING CAMPS TO KASABIAN CAMEOS.
MYSIE LICKS MAGAZINE
a real collaboration with him and he has this amazing ability to help me really open up in a safe space. He’s always been there to enhance and amplify me which is such a breath of fresh air! But yes, he’s a legend, it’s been great working with him.” Tell us about how your latest EP ‘joyride’ compares to your previous work. “‘joyride’ is a journey into my personal life and it was a super cathartic experience for me to delve into those parts of my life. It was a super raw and heavy process compared to my ‘undertones’ EP which was more focused on past accounts rather than current experiences. I see ‘joyride’ as an extension of uncovering myself, it really helped me unleash and open up in a way I hadn’t before.” Is it important for you to have vulnerability throughout your music? “Absolutely. To share your vulnerability is a powerful thing, and it should be encouraged. Within vulnerability there’s power, and I feel like each time I open up, a part of me becomes stronger. Saying that, I think balance is important. I think finding lightness and fun is important too. Sometimes talk about chewing gum and green apples, init.” The subject matter of the EP surrounds your past experiences, nostalgia, and the emotions that came as a result. What inspired this choice? “All those three things inspire my music. There are so many different chapters of my life I want to share as I grow. I’m human, and I’m learning my own lessons just like anybody else. I make music not to heal from experience, but to share my experiences with others that may be going through the same thing. Being a part of someone’s journey is a beautiful thing, and making my listeners feel a type of way is my purpose. At the time of writing the EP, I was going through it. I was in the centre of life and its issues and was simply just expressing how I felt at that very moment. It’s what felt most natural to me.”
What do you hope listeners take from your new music? “I hope it gets you through. The period this project marks in my life is a dark space. There’s some light and shade there, but it’s mostly dark. It marks a time of being in denial and emotional coasting. I hope this project helps my listeners get through, and know there’s light at the end of the tunnel! Life is for learning, and there’s going to be ups and downs, it’s a part of it.” What is next for Mysie?
“My short-term goal is to keep smashing out bangers and my long-term goal is for them to be timeless, and to connect with people all over the world.” • Keep your ears peeled for new music from Mysie coming very soon.
Words by Lily Blakeney-Edwards
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Brooklyn, and NYC generally, has always had those hyper-local moments and scenes, but up to and around 2010 when we started was specifically a special time.”
What inspired Widowspeak in that period?
FOLLOWING A FIVE-YEAR HIATUS FROM PLAYING LIVE, WIDOWSPEAK ARE BACK TAKING 2020’S ‘PLUM’ ON THE ROAD ALONG WITH THEIR DREAMY NEW ALBUM ‘THE JACKET’. WE CAUGHT UP WITH VOCALIST AND GUITARIST MOLLY HAMILTON TO DISCUSS THE BAND’S EVOLUTION, NEW YORK’S MUSIC SCENE, AND THEIR GENRE-BLENDED SOUND.
WIDOWSPEAKWIDOWSPEAK
“The way the NYC scene moves in waves, the way that nothing stays the same. The different scenes that are coexisting all over the city at the same time. I love feeling like there will always be unfamiliar things I don’t understand yet, there’s mystery. Also that sort of dark, grimey energy that is so intrinsically NYC is honestly a big inspiration.
“Our practice space, studio, and where we live are all close together. Being able to go home at the end of the day after sessions made it all feel very relaxed and natural. Most of ‘The Jacket’ was recorded in live takes. Sometimes it’s cool to make a more ‘studio’ record, but this time it felt like we were capturing something that happened organically, a moment in our band, specific performances of the songs that happened once, in time and space.”
“It felt like most weeks we were either playing or going to a show and everyone we knew was there; it felt exciting because there was always something going on, but also because it felt social and community-supported.
The most important influences that overlapped in the venn diagram of Michael [Stasiak, drums], Rob [Earl Thomas, guitar] and I, were the show Twin Peaks, Terrence Malick films, Ennio Morricone soundtracks, ‘Sleep Walk’ by Santo & Johnny, and The Velvet Underground; that’s the mix of things that kicked the band off.”
“We moved back right at the start of COVIDrelated shutdowns, and wrote the album while sequestered in the apartment. It felt like the songs were informed by a full-circle feeling, coming back to the place where Widowspeak formed and recapturing that energy.
WIDOWSPEAK LICKS MAGAZINE
What was it like in the band’s early days starting out in Brooklyn?
You returned to New York to record your latest album ‘The Jacket’, how did that affect your process?
“Our band has always been about having the melody and vocal parts in conversation with the guitar; we try to have them balance each other. That came naturally from our contrasting styles: I sing in a more round and soft way, while Rob plays with a sort of angular, sharp-edged touch. It’s the way we write songs together, the way it’s always happened.” You’re described as having a genre-layered sound, what inspires your current music the most?
“But for now, we’re going to get home from tour, assess the song ideas that have been piling up, start to think about what we want to do next, and then get to working on it. This is my favorite part of being in the band - the ideation phase when you don’t quite know what you’re going to do next, but you’re excited to find out.”
“We are very inspired by visuals - whether that’s places and spaces we see, visual art, photographs or films. I always create folders and moodboards of completely random pictures that help me visualize what a song might feel like. It’s a way of focusing my own emotions and thoughts to help point song ideas into specific directions.”
Words by Meghan Weale
After six albums, where do you see Widowspeak going next?
“Our trust in each other plays a big part in how we write songs and play them on stage. We have a really strong rapport as a whole band, but especially the two of us. I think that’s driven the personality of our band, just vibing off of each other and enjoying being on stage.”
•
“Lately in the van we’ve been listening to a lot of old country. That’s the biggest thing we’ve been digging into. ‘60s and ‘70s string arrangements, pedal steel, even the ‘80s and ‘90s mainstream sounds. It may not find its way into our new music, but it’s something that we’ve been into as a group.” What about anything outside of music?
“I would love to play in more beautiful outdoor spaces. Old spaces and buildings with a lot of history. I want to play in Greece, Turkey, or anywhere along the Mediterranean because I’ve never been there and it seems beautiful. Anywhere, everywhere in Asia. And really anywhere we haven’t been before… which is most places.”
Widowspeak’s last album, ‘Plum’, received great recognition. How does ‘The Jacket’ compare? “It’s a continuation of ‘Plum’. Sonically, it takes a more live, unpolished approach, less pristine of a recording. It made sense to us to put some of the ‘Plum’ ideas into practice in another way. Before ‘Plum’, I’d taken some time away to refocus my intentions on songwriting. That time and space gave me a new perspective. I’m still riding the wave of it with this new album, as well as with new songs that we’re writing. I’m trying to be more present with all of it, to be myself.”
The on-stage chemistry between you and Rob is really sweet and engaging, what is it like performing with your partner?
WIDOWSPEAK
“‘Plum’ and ‘The Jacket’ re-centered us as a band. We’re now in a good place to experiment more. I see us digging in deeper, stretching what we already do and seeing how far we can take it. I see us shifting into different dynamic spaces, being more minimal and sparse yet dense and big-sounding. But who’s to say; I can never really get a sense of what the records will be until they are done.
The vocals and guitar styles are contrasting in intensity, but mesh together beautifully. How did you develop this style?
Widowspeak’s new album ‘The Jacket’ is available now via Captured Tracks.
If you were offered to perform at any location in the world, where would you play?
Credit: Tonje Thilesen
LONDON | ONLINE MA COMMERCIAL SONGWRITING & PRODUCTION MA COMMERCIAL MUSIC PRODUCER | MA MUSIC BUSINESS MA INTERNATIONAL MUSIC MARKETING | MA ENTERTAINMENT DESIGN LEVEL 6 ENTRY (BA TOP UP) COMMERCIAL MUSIC SONGWRITINGPRODUCERCAMPS NOWAPPLY MA COMMERCIAL SONGWRITING & PRODUCTION MA COMMERCIAL MUSIC PRODUCER | MA MUSIC BUSINESS MA INTERNATIONAL MUSIC MARKETING | MA ENTERTAINMENT DESIGN LEVEL 6 ENTRY (BA TOP UP) COMMERCIAL MUSIC SONGWRITINGPRODUCERCAMPS NOWAPPLYLONDON | ONLINE MA COMMERCIAL SONGWRITING & PRODUCTION COMMERCIAL MUSIC PRODUCER | MA MUSIC BUSINESS INTERNATIONAL MUSIC MARKETING | MA ENTERTAINMENT DESIGN 6 ENTRY (BA TOP UP) COMMERCIAL MUSIC SONGWRITINGPRODUCERCAMPS NOWAPPLY
WITH MANAGING DIRECTOR, HARRY
WHILST
“This industry is so collaborative. I always say this to my students in week one, ‘If you take any number of hits in the top 40, through any period of time, and divide it by the number of writers involved in those hits, the average is about six or seven. And that is before you start peeling the layers of the onion further out, where you’ve got managers, and then a label of people, and a publisher, and an agent for the live shows. It’s a hugely collaborative business and we want our students to learn about this from the get-go. And I think, if you’re in a community like Tileyard with about one-thousand-four-hundred people, there are so many different opportunities for collaboration.”
OF COURSES FROM LEVEL 6 AND ABOVE. WE
A WIDE
TO FIND OUT MORE.
WITH A CAMPUS AMONGST A COMMUNITY OF BUSINESSES SPECIALISING IN EVERY DISCIPLINE OF THE MUSIC INDUSTRY, EDUCATION GIVES STUDENTS UNIQUE ACCESS TO MENTORS AND STUDIOS, PROVIDING RANGE SPOKE LECKSTEIN,
What other perks do the students have access to?
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AND READ THE FULL INTERVIEW NOW AT LICKSMAG.COM
Being based in the Tileyard community ourselves, it’s great to see Tileyard Education here giving students the opportunity to network way beyond what you would get on a normal campus.
“More than just a central place for our students to study, we have small class sizes here to ensure they have access to some amazing studio spaces, lots of great equipment, and importantly access to commercial briefs - which are requests for an original piece of music that could be for an artist, a TV show, a game or anything. This community has around one hundred briefs a week, so many that you could never get through them all in the time that you’re here. And, this doesn’t stop with your degree as we make sure that our alumni are sent on briefs afterward as well, so you’re still connected to the community. We’re also very proud of our industry mentoring programme. Every student gets an industry mentor which is assigned based on the type of specialism they want to develop. Many of our alumni have left to go on and work for the businesses operating at Tileyard.”
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TILEYARD
6ISSUE £5 / $7 WIDOWSPEAK • DEEZIE BROWN • MYSIE • KATE BOLLINGER BLU DETIGERTASTEINMUSIC
