Ethan Stuart, ‘Bird Baths, fountains, hanging plants, plants from other climates, and pamphlets on how to take care of them’
Farewell 2019, Issue Twenty-Three is our final magazine of
If you’re in a band, there’s one label you’re currently
the year and is packed with reasons to be excited for 2020.
looking towards for support right now and it’s Partisan.
The last twelve months have been as exciting for breakout
The label have been responsible for two of this year’s
bands as they have for returning artists, and it’s one of
Mercury Prize nominated albums and we gave them a bell
them that we have on the cover. The Big Moon return to
to chat Idles, Fontaines D.C. and the growth of the label.
our ears with their second album ‘Walking Like We Do’ in
Lurking in the underground are 2020’s next big sounds and
January. We catch up with them in London to chat about
we reached out to three of the most exciting. Inside you’ll
not making another rock album, fandom and coming down
find conversations with Drug Store Romeos, Do Nothing
to reality after touring. On the flip side, Working Men’s
and Powerplant. Another band making the transition from
Club are one of the UK’s most exciting brand new bands.
charming indie to pop bangers are Girl Ray. The three
The group have a new line up and with mainstay, Syd at the
piece are set to release their second album this year and we
helm, the Manchester band are likely to be at the forefront
met them to discuss the new sounds, Ariana Grande and
of a dance music led subculture... made by bands. London’s
self love. We see off the issue by leaving British shores
Matt Maltese is back with his unique brand of high melody,
and speaking to those responsible for two of our favourite
low mood songwriting. We catch up with him as he gears
releases of the year. We get political with BODEGA and
up to release his second album. Anyone not heard about
catch up with Twin Peaks whose thoughtful new sound
Lazarus Kane? It’s difficult to cipher any clear facts about
was polished off in Wales. As always we give a brief
the ‘American’ from the southern states, but we do know
introduction to our favourite new artists who are playing
that his debut single ‘Narcissus’ is a monster and we had to
support slots in small venues up and down the country.
give him a call.
This time we say “Who Are You?” to Legss, U-Bahn, Julia Bardo, Los Bitchos, Deep Tan and more.
3 Lazarus Kane Narcissus
26 Twin Peaks Our World
6 The Big Moon Walking Like We Do
30 Working Men’s Club Teeth
10 Girl Ray Girl
33 Partisan Records Values
14 Matt Maltese Krystal
38 Do Nothing Gangs
17 Powerplant Hey Mr. Dogman!
39 BODEGA Shiny New Model
20 Drug Store Romeos Now You’re Moving
41 Who Are You? Get to Know
Lazarus Kane Lazarus Kane is hot shit at the moment. Having built a buzz
But I was in his Spanish-style mini mansion in Malibu and
around his name following a string of mesmerising live
he had a few guitars hanging about and I picked up one
shows, the newcomer has become known for his pop-funk
and started playing the riff just off of the top of my head. I
knee slappers and mysterious on-stage persona, completed
think I had something on at the time, I think my sister was
with a signature bright kimono and an up-for-debate
getting married or something, anyway I’ve had something
American accent. With brooding bop debut ‘Narcissus’
on basically for the last 20 years and I only finished it at the
cementing his status as someone to pay attention to and
start of this year. Originally it was meant to be more concise
with loads more plans for the next year, he called us from a
but then I thought, why not just open it up? Free the song
payphone in Manchester to explain more.
from its repetitive nature by making it even more repetitive and for a longer time.
Going back to the very beginning, how did you first get Obviously your management plays quite a big part in
into music?
your life. Can you tell us a bit about it? I was raised in a fairly religious family and I experienced a lot of music through the church and as I got older I sort
They’re fantastic. I’ve been with them for many years now,
of moved away from the religious side but I never lost the
they’re almost like parents to me. But I’m a very busy
spiritual feeling of music. Growing up when I did, music
man! I’m transglobal in my approach, I’m flying a lot. One
was becoming a lot more progressive than your traditional
week I’m with Beyonce, the next week I’m with Kanye,
two guitars and a bass guitar and a drum kit. I started with
the week after that I’m with someone whose name doesn’t
hymns in the church and it’s where it is now, which is
end in “ye”, so it’s a constant struggle for me to keep on
hymns in a different church, but a church nonetheless.
top of things. Hell, I’m calling you from a payphone right now, I don’t know where the fuck I am! They make sure the
We can’t help but notice your Southern twang. Where
yoghurt is not open, if you know what I mean.
has this accent come from? Finally, what do you want people to take away from I’d rather not say the exact place just because I have various
Lazarus Kane?
tax problems outstanding. I want to continue doing this tax free as long as possible and it would be remiss of me to
Well if they come to a show, what I’d love is for them
mention where exactly I’m from, but it is in the south of the
to take away some merchandise for a fair price. In a less
United States of America.
physical sense, I’d like people to take away a feeling that they can laugh at things again. We live in a time that is
You recently released your debut single ‘Narcissus’. How
very sensitive, both dermatologically and humour wise,
did that come into being?
and I would like people to have a good time, have a few drinks. Responsibly obviously. Maybe laugh at themselves
I was housesitting for Harrison Ford in the late 80s/early
but mostly at the slightly fat man on stage in a kimono.
90s. He was on a national press tour for the film The
What else is left? Otherwise we’re all in a post-punk band
Fugitive which is a fantastic film and spawned the fantastic
wearing trousers. I’m trying not to wear trousers, but I can’t
spin off series.
really comment about that, that was a bad time.
3
Words by Elly Watson, illustration by Stefanie Röhnisch
The Big Moon Pulling everyone in with their large, gutter punch melodies
Juliette: He’d take a song away on his laptop, work on it for
and touching-ly confessional lyrics, The Big Moon
a few hours, come back and be like “I’ve done all of this”,
rightfully scored critical praise and a dedicated fandom off
just to hear all this amazing stuff and to be able to be like
the back of their 2017 debut, ‘Love in the 4th Dimension’.
“keep that, lose that” was great. It’s a luxury to work with
But as the quartet returned to the studio to record their latest
someone who gives a shit.
offering, ‘Walking Like We do’ they were determined not to make a rock n roll album. We caught up with Juliette, Celia,
Was it intentionally more stripped back in places?
Soph and Fern in a cosy pub in Putney to talk switching up writing styles and the bizarre world of hero worship.
Juliette: When I started writing, all that I knew was that I didn’t want to make another rock album. It’s a bit like
So after the craziness of the past few years, what with
rebelling against your parents y’know, like “I did that but
you undertaking extensive tours and being nominated
now I’m going to to do the complete opposite thing.” I was
for the Mercury Prize, how did you carve out time to
trying to write songs on piano, because the songs would
start writing the new album?
come out differently. If you’re too familiar with guitar, your hands just go to the same places all the time. Saying
Juliette: I would go to people’s houses whilst they were
that there is still quite a lot of rock music in there, but then
away, like spending a week by myself in a tiny house in
that’s our nature. We’re always going to go there to some
Wales, I went all over the place. It wasn’t deliberately
extent. We have more faith in our character now. We could
journalling, you’re just drawing on particular thoughts. I
play any kind of song, on any instrument and as long as we
felt anxious about writing the new stuff for a little while
were singing it and it has those lyrics, it’s still going to be a
but not in a bad way, I just put a lot of pressure on myself
Big Moon song.
because I wanted it to be as good as it could be, and I didn’t want to be lazy. But when I’d been writing for like
This time, we definitely learned that less is more. We really
six months again, and after we’d made decisions about the
wanted to leave space in the songs. With the last album we
sound, it freed up a bit and felt easier.
just filled it in, we just wanted to give it everything and put in as much as we could as we had so many ideas. We were
What made you want to work with Ben H. Allen and
capturing the excitement of making an album for the first
what did he bring to the recording?
time, so like why not play the banjo and do megaphone voice on everything? On this one it’s more like, I actually
Fern: We went with him because we wanted a really
have things to say and it would be nice for people to hear
different sound, and he just has such a variety of projects
them, whether that’s lyrically or melodically.
that he’s worked on. When we were on Skype to him he was like “You want a pop record? I can make you a pop record.” “Want a blues record? I can make you a blues record.” The first record we just wanted to make the best version of the live show. But this time, with him having such confidence in us being able to make whatever we wanted, the possibilities felt endless.
Words by Eleanor Philpot, illustration by Marcus Oakley
6
I love how the album opens with the line, ‘I’m so sick of
Soph: I remember I was feeling really weird when we
being capable, I just want somewhere to be vulnerable’
finished a tour and our friend Marika [Hackman] was like
it’s so powerful...
“it’s because you’re used to having that adrenaline rush every night for an hour and now you’re not sure what to do
Juliette: Those lyrics are about how as a performer, you
without it.”
feel like you have to present a certain image or aspect of yourself that’s always confident, comfortable, capable and
Would you say you’ve all grown in confidence after
doing all the right things. Like your fans look up to you and
being at this for a few years now?
you’re just like “I don’t know, I have no idea.” But I have to say things that make me sound like I know what I’m
Celia: I feel like we are more sure in ourselves in the sense
doing as it’s making them feel better and that’s worth it.
that we know what we want the environment of our band to be - how we want to treat each other and how we want
Is the fandom ever overwhelming?
to treat the people around us. We don’t want to work with people who are going to treat other people in a certain way,
Fern: You just don’t have the answers. You’re just a
even if they’re being nice to us.
person that has an opinion and other people have opinions. Sometimes people connect so much to your songs that you
One of the hardest things we have to do as a band is help
get put on this pedestal. It’s a responsibility to write songs
each other be people. It’s something that no one seems to
that people like and listen to.
talk about which is weird for me, because it’s what playing music’s all about.
Celia: We all have stuff going on in our lives, but for an hour or half an hour every night you have to wipe it from your brain, you have to still get up on stage and smile. And obviously we’re so lucky to be able to do that and it can be like the best medicine in the world, to be able to get out of your own head, but sometimes before it, you’re like “can I actually be that person tonight?” Juliette: Sometimes before I go onstage I just found myself putting on more and more make up, like I will become someone else! Does it ever feel hard to come down to normal life after all that touring? Fern: Yeah, it really fucks with you! It’s the best job in the world but that doesn’t make it easy. You have all this energy from coming off stage and then suddenly you’re in a hotel room, and then on the move again... there’s a lot of conversation going on at the moment about touring musicians and mental health and it’s so important to talk about. Sometimes I get to a venue and I need to stand still for a minute because I need to stop. You constantly feel like you’re on an escalator.
7
Opposite, Constance Tenvik, ‘Silvana’ 2019, Gouache on Paper
Girl Ray The second album from North London BFFLs, Poppy,
S: I feel like Ariana Grande bridged the gap between indie
Sophie and Iris, came to fruition after being inspired by
and pop.
‘Thank U, Next’. So it’s no surprise that album 2 expresses friendship, feeling fab and slightly “fuck him”. We met Girl
P: We were like fuck it, it’s so fun to listen to and we all
Ray to talk about everything ‘GIRL’. (NB: They’re so co-
love watching pop live as well.
ordinated, they accidentally wore matching jackets). S: Our show isn’t really pop, but we went on tour with Please, can we start with an explanation of the
Porches and it made us want our live shows to be less
Instagram from Nov 2018 captioned ‘Album 2 vibes’
emotional.
which features Sophie wearing a duct-tape moustache But you do still have some songs like ‘Earl Grey’ on this
and a pink towel on her head?
album too? Poppy: Oh my god, right yeah Sophie this must be explained. Why did you have duct tape on?
P: Those are just closing the gap.
Sophie: We had gone a little insane by this point I think
I: Making way for album 3 which will be 100% pop
because we were in a small studio for a few days, not
bangers.
knowing what we were doing. We ended up singing a Carole King karaoke and I had that on for some reason, but that
‘GIRL’ definitely has bangers, it even features rapper
doesn’t even make sense.
PSwuave on ‘Takes Time’. How did that collab come about?
Iris: There is no reasonable explanation. I: We recorded one session of the album and decided it Poppy: We never really thought about how that would look
wasn’t quite finished. We took a break, came back and…
to other people…
Poppy had written this song with a rap.
Well, what are the vibes of ‘GIRL’? This record seems to
P: No, I did not write the rap! I wrote a fake Snoop Dogg
have more pop influences, how did you decide this was
rap over it. It was hard to sing over the melody without it
the direction you wanted to go?
sounding lame, so I did a fake rap and it sounded really good. Well my rap didn’t, but the idea did. We reached out
S: We always have been into pop, but on the sly. Now our
to PSwuave and the rest is history.
Spotify playlists are dominated with chart music. S: The song didn’t really have a theme or meaning until she P: There’s something about pop now that’s super smart. The
gave it one.
writing behind it, the messages female pop stars are singing and it’s no longer so formulaic. I: The world doesn’t hate pop and the stigma is being removed.
Words by Phoebe Scott, illustration by Jolanda Jokinen
10
There are clear themes of female empowerment
I: And in that photo, it’s on concrete which is so not LA,
throughout though. Which women would you choose to
which kind of represents that.
describe the album? P: I remember the photographer, Laura got on a ladder to P: We were inspired by Ariana, Lizzo and all the women
shoot and she was like “oh wait this looks like an album
who speak about self-love, we always need more girl power.
cover” and that was the one we chose.
I think Ariana definitely, we didn’t shut up about her for Girl Ray’s new album ‘GIRL’ is out on 22nd November.
almost a year. S: We stuck up her pictures on the wall in our studio to make sure she was watching over us. P: I’m also obsessed with ROSALÍA at the moment, she’s so badass and her voice is incredible. I: I love Kacey Musgraves’ attitude. Her songs are on a high horse that gets to the point and says it how it is. Your album cover paints you like ladies with attitude too. Whose idea was the sick convertible? Is this how you envision people listening to the music? P: That’s what we said when we saw the picture. I think it fits on several levels. Yes, it’s one for putting the windows down in a convertible, screaming loud… S: I feel like you mention cars a lot. You love cars. P: Oh yeah, all the time, I keep going on about them. I: We clearly don’t own a car and we don’t really know about cars. P: I just think it’s ironic because we were trying to make this smooth west-coast LA production, but we were recording in an industrial state in Margate. It’s a bit of tongue and cheek, trying to be super cool but the reality is very different.
11
Girl Ray
Claire Nicolet, ‘Parc de la Terre’
Matt Maltese It feels less than a hot minute since we last heard
The album is very contrapuntal in terms of the music
from London’s Matt Maltese on his debut record ‘Bad
and the lyrical imagery used. Is that something you
Contestant’. Long tours in the UK and the U.S followed,
aimed for when creating it?
but we join him after an extended period of rest and recuperation in his Elephant and Castle home and the
I think with that, I’m that kind of person that likes to phrase
release of new video ‘Rom-Com Gone Wrong’ - taken from
them that way. I like having these really nice sounding
his sophomore album ‘Krystal’, out November 8th.
melodies put together with these icky things and stuff that I wouldn’t have the guts to say away from the mic. I think
So you’ve been away and had a respite - how’re you
the music coming across like it’s ‘polishing a turd’ with the
feeling and how does it feel to have new music out in the
sweet presentation of something icky is quite interesting. I
world?
think there’s a lot of music that does that really – especially a lot of the music I like anyway – where they talk about real
Yeah, it feels great. It’s always nice to have new music
things, but within the elevated beauty of music.
come out, especially as there’s a bit of latency with it at times. Having written it an amount of time ago and then
With your last record there seemed to be this almost lazy
having to wait until it’s out so it’s always great to let
comparison of yourself with Father John Misty and even
things go and release new music. To me releasing music
going as far as calling you the British version. Did that
is to almost feel like letting it go. The process can be very
bother you at all?
convoluted and can contain a lot of second guessing, but when its out its out and it’s almost like a relief.
Not particularly. I think again, its more about letting go and I mean I’ve had people compare me to mad things and to
It’s funny you should say that because having heard
people I really like, but I don’t think you can listen to any
‘Krystal’ in comparison to the last record there’s this
of it. I think it’s also important to not listen to it so that you
sense of relief like all the air being let out of a balloon…
don’t try to match the trajectory of peoples expectations. As long as people enjoy it, it doesn’t matter what kind of
That’s a really good analogy actually, because I wanted this
person it evokes because it’s out of your control at the end
time around to be a lot less overthought in a way. I wanted
of the day.
to get the songs out there without really second guessing anything or adding too much to the tracks themselves. Not that I don’t like doing that, it’s just that I felt that with this record it was right that it stayed as intimate as it was written.
Words by Matt Bisgrove, illustration by Franz Lang
14
Obviously we’ve heard ‘Curl Up and Die’. What influenced the decision to make this the first piece of music we heard from this project? I think it was probably because it was one of the first pieces of music that came about for this record. I think it had a lot of what the record has in it in a concise way. It has those horrific lyrics accompanied by the sweet sounding music, so I’m happy that that was the first piece of music people heard. It also feels like a retreat in a way that song. It was a very simply put together song and that’s how I wanted it to be. With the song itself, is that a hyperbolised version of events or a direct link to what was going on with you at the time of when you wrote it? It was pretty direct, yeah. It was like I’ve genuinely felt like that before and it was saying it how it is. Pretty much all those lyrics dissect exactly how I’ve felt before and initially they didn’t strike me that they could go alongside a simple doo-wop, but in the end it felt really right. It also added a sense of humour to it all, which I think is pretty essential when you’re being that melodramatic. ‘Rom-Com Gone Wrong’ sees its video directed by Submarine and Skins actor Craig Roberts. How did that collaboration come about? It was really strange actually. I went to Krakow last summer for about seven days for a trip on my own and to do some writing and I did the typically British thing of expecting everyone to speak English and of course they didn’t so I just stayed inside writing. It was an awful awful trip, very depressing and it was a very lonely time. Weirdly I then got this email saying “would you like to try and write some music for this film that Craig Roberts is directing?” and these bleak piano songs came out of me that didn’t end up being used in the film, but he then messaged me on Twitter and was like “I love your album” which I guess was an introduction to my music for him. We then became online friends and he basically said, “If you ever need a music video I’m around” and we then hung out and got each-others awkward sense of humour.
15
Opposite, Constance Tenvik, ‘Kakan Hermansson Talking Rage, Hate, Fury & Her Early Discovery of Andrea Dwarkin’
Powerplant Through the nook of the underground, Powerplant are on
London is a funny place. I think all I know really is who my
a self-proclaimed ‘synth punk crusade.’ What was once
friends are and where I can get some darn wings. London
confined to a bedroom now breeds freely in the open,
is the only thing I’ve known and I’ve grown to be familiar
largely due to their debut album, ‘People In The Sun’,
with. I’ve been deported back to Ukraine now because my
where each song bolts from the blocks and knocks over the
student visa just expired on my 22nd birthday.
china. Theo Zhykharyev carves out the finer details. How did you feel when Iggy Pop played your music the You released ‘Dog Sees Ghosts’ in 2017. How have you
other day?
personally and musically progressed since that initial release?
Oh boy… after getting it up and hearing it on my phone and hearing him read the song, I took my glasses off and walked
I did that EP in two days and the last LP took about 7
in the rain with tears forming out of confusion in my eyes.
months. It turned out to be that, ‘hey, having a longer song
Then I finished walking to the place I was going to. It’s
with an odd thing here and there could be better sometimes
insane… it’s crazy…I don’t know. I was listening to a lot of
than some one minute, fifty second verse chorus verse
‘The Idiot’ when working on the first chunk of songs from
chorus thing.’ I think, most importantly, is that this is slowly
‘People In The Sun’ and there was particular parts of it that
becoming a thing I do rather than a thing I wouldn’t really
I wanted to sound like ‘Mass Production.’
assume I’d be doing. It’s insane to have a record out and to have many people listening to the music and to play with a
Is there anyone else you has had an impact like that on
live band everywhere.
you? I hear Jay Reatard in your work.
How did you meet the other members?
Damn, I stopped affiliating with music past high school until I listened to a TND podcast where they played ‘The
We only started playing live this February. I was never
Night Of Broken Glass’ by Jay Reatard and they mentioned
meant to be a band-band, you know? I was just making
something like he did it all himself in his garage, which I
funny songs for the Internet in my bedroom and then it sort
have no idea is true or not but that sort of made me stop
of started making sense to play things live. It’s been odd,
thinking of music as a ‘band’ thing and more of a whatever
it’s been a trip. I just asked the only musician friends I
makes the cut. Then I got in to Ty Segall and Thee Oh Sees
knew and that knew me back and were aware of what I was
and proved on many occasions you can do it on your own or
doing and it sort of came together. I lived with Lloyd who
at least record it on your own. I only listen to podcasts now,
plays drums in every hardcore band, Cam produces weird
so there it is.
electronic music and had a synth stand lying about, so he slipped in. Ben wanted to play in a band, so he got to play
Someone wrote that your music is perfect for pogo-ing
bass.
to. What else is it perfect for?
What does your head and heart say when you’re living
It’s good to get groceries to, get kicked out of a casino
in London?
to… it’s for climbing three steps at a time to… but it’s probably only good for two steps at a time schmucks with bad posture.
17
Words by Harley Cassidy, illustration by Kingston Poplar
Drug Store Romeos After spending nine months in self-imposed solitude in their
J: I think you can hear someone’s personality more when
rural hometown in Hampshire, Drug Store Romeos have
they are singing quieter, cause it’s closer to that talking
returned - bold, enigmatic and undoubtedly assured in what
voice. Whereas when you are projecting you are always
they are creating. ‘Now You’re Moving’ is an expansive and
creating this character to kind of bellow out these words.
tangibly atmospheric introduction, and opens the gates to the animated and colourful world that the trio are trying to
I found the single to be quite a startling exploration
create. Finding them at home on an early weekday, bleary
of the space around us and the way things move. It’s
eyed yet excitable, Sarah, Johnny and Charlie gave us an
interesting to me that you would explore something so
insight into this world - and exactly how they intend on
physical in a form that isn’t tangible? Is it motivated by
inviting us all to not only see it, but very much be a part.
the feeling that sound and music evokes?
Obviously cocooning yourselves away for nine months
S: I think there has always been an image which has driven
had a major impact on you. Would you say the
a song and it’s writing. I was reading about squid on the
environments you work in play an integral part in what
bottom of the ocean, and how rather than communicating
you create?
through language they communicate through the patterns and colours on their backs. It’s unbridled by anyone’s
Johnny: So we rehearse in my house in a very low-ceiling
personal dictionary and it’s an expression that’s purely
alcove. There’s quite a direct impact on our sound from
physical and expansive, and not dictated by how articulate
rehearsing in there - because we did actually have to play
someone is. It’s raw expression, and that creates a weird,
it quieter. I used to play in punk bands and we used to get
fourth and fifth dimensional world with the drums and the
complaints whenever we played, we put loads of sound
eerie synth. It’s like the depths of the ocean, it’s very dark
proofing up and people were still really against it. So when
and it’s very blue.
we started playing I had to be really gentle and I started to learn how to do measured hits and it also meant there was a certain tone that would come from Sarah’s voice. It’s almost like being forced to find subtlety? Sarah: Yeah exactly, but then we kind of found gentleness comes with it and I find when I’m singing, when I have to sing louder, the tone changes completely. So we want that softness that comes with singing quietly, it creates an intimacy that is tainted when you are singing loudly.
Words by Ross Jones, illustration by Li Ya Wen
20
Do you feel like there’s a fluidity between all forms of art? Does the difference lie in how we express ourselves through these forms? S: I think you can express the same idea through various different mediums. It’s interesting when you put the mediums together, art and music - it creates something that has more levels and is more dimensional - I guess like a movie. J: I think there definitely is a fluidity - obviously there are different forms of art that’ll match genres of music. We tried to create an artistic world around different songs, so I think there is a fluidity. Now that you’ve got a single out there and there will be more to come - what would you like people to take from your music? S: I’d like it to be multifaceted enough that people can take different meanings from different lyrics and words. We have a song that everyone I play it to has a different interpretation of what it’s about, and I love that. The lyrics can be such a turnoff for me, it’s the first thing I listen to. My technique for writing lyrics is cutting from different mediums - so they create meanings that are really strange and unstable, and I thought it would be so nice to have an album that is individual, because it taps into this unconscious thing within you.
21
Drug Store Romeos
Ethan Stuart, ‘Burnt Display’
Twin Peaks Mention Twin Peaks to any random-er in the know and a
CLJ: And then it becomes a Twin Peaks song.
whole lotta imagery is gonna spew out (spooky trees and good tiling- you get the picture). Yet, the Twin Peaks to our
You went to Wales to record- how did that come about?
hearts lie ultimately not with the homecoming-queen but rather five young groovers from Chicago. I sat with Colin
CLJ: We wanted to work with Ethan Jones who’s based
Croom and Cadien Lake James at Camden’s, Spread Eagle
out near Stonehenge (he talked about it a lot… ) and he
as we attempted to name the shade of blue adhering to our
suggested this studio Monnow Valley which was near
mutually needed, morning cup of joe.
enough to home so he could travel back on weekends. It was a more expensive way to do it- travelling to Wales but it
Your new album ‘Lookout Low’ has taken on a mature,
was really awesome being in the old country. At the end of
almost therapeutic vibe that feels a lot rawer than its
the day It was just us in this house for three weeks.
predecessors. Was that a conscious decision? CC: Jack never left the property. I went out the night before CC: I think the perspective of others that we care about
we left so I wouldn’t have to reintroduce myself back into
is seeping into our songs more and showing our age and
society at Heathrow. I figured that’d be the worst idea; I
growth. It’s good to be human and feel things…
haven’t seen anyone but my friends for three weeks and now I’m going to Heathrow airport…
CLJ: That’s the beauty of music. The art’s ability to have conversations and connections to emotions, it’s a big part
CLJ: It felt like that Deerhunter song ‘Agoraphobia’ - great
in helping. Being able to write more transparent lyrics-
song.
especially Jack [Dolan] coming out of his lyrics, he can talk about depression in a way which is open and comforting.
Did the lived-in experience filter in to your songwriting
It’s been cool to see.
at all?
Did you write with intent on creating a new record or
CLJ: For this record, because we’d put so much work into
are they songs you’ve been working on for a while?
writing and learning to play the songs live by the time we got out there it was like ‘here are the songs’-they’re already
CC: It wasn’t a conceptual idea, it was more like “well it’s
formed. I re-did lyrics for the first track whilst there as I
time to make a record, how many songs have we got let’s
could sit up, late night, in Wales with all the stars and it just
work on them, see what we can do with them”. This is the
came out.
most collaborative experience we’ve had. Most of the time its whoever sings the song writes the song and there’s a
CC: I re-wrote most of my parts when we got there because
slew of parts that are kinda envisioned, but this time it was
they had a piano and I don’t. You write to what you have.
more with the idea of bringing the songs together and then us playing it. There’s a beauty in letting go of an idea you have to those you trust to fulfil it.
Words by Al Mills, illustration by Maria Midttun
26
Did you have any downtime? CLJ: There was a lot of practising but I read. I got almost through Neuromancer which I’ve been trying to tackle for a couple of years. And now you’re on tour again! How does life fit into it? CLJ: Yeah. We had the summer off and now we’re fucked for a couple of years just on the road. It’s pretty good- I’m really glad we’re back doing it. Since 2013 for the most part we’ve been on the road and last year, taking the time off writing etc meant a lot of time off which was sorely needed. It was awesome, I’d forgotten what it’s like to be in one place but I missed doing what I’ve known doing. CC: I love embracing the routine of the structure. I feel like a lot of creative flow works that way because you develop time for things. There’s a letting go and being able to roll with the flow, live impulsively. CLJ: I love cooking, I’ve been perfecting my bolognese but you don’t get to cook on tour! CC: We could have a second van and make it our food truck… It would be a good side hustle... CLJ: Straight up, I can make this interesting. I’ve got my metal straw, we could sell reusable Twin Peaks straw cases at our shows- side hustle.
27
Opposite, Constance Tenvik, ‘Calle at Riche’ 2019, Gouache on Paper
Working Men’s Club It’s been quite the whirlwind few months for Working
Yeah and I think that’s the nice thing about bands we’ve
Men’s Club. A sold-out residency in Manchester, successive
toured with really. It doesn’t feel like the popularity contest
jaunts out on the road with Fat White Family, their own
where you are trying to win them over or make them
headline tour, even awards nominations. All the while,
like your music, it’s purely based on the fact you want to
members have left and joined - founding members Giulia
support each other and appreciate each other’s music. That’s
Bonometti and Jake Bogacki have both departed - with
the nice thing about bands at the minute, everyone, however
the group remaining an industrious four-piece live. At the
accomplished they already are, are trying to support
forefront of all this, remains Syd Minsky-Sargeant - the
everyone, they come to each other’s gigs and speak to each
encompassing and passionate frontman that solely drives
other. ‘Cause you’ve got to socialise with people or else
the direction of the group. What remains so exciting about
they aren’t going to socialise with you.
them, is that really only he knows what route that will be. With writing complete for their debut album, we sat down
Obviously with this project you started it provincially in
with Syd as he sipped an espresso martini in Brighton to
Todmorden. With you now being based in Manchester,
discuss dance music, growing up in the north and moulding
how has that not only influenced the music you make
anxiety and ecstasy.
but you also your own perception and inspiration for creating it?
The buzz still very much surrounds Working Men’s Club, it’s a strange one isn’t it because you never know
I mean, I still live in Tod, but I think Manchester is the
what’s going to happen with that?
stumbling ground that has made it what it is now. I think the biggest factor was getting into dance music, and putting
It’s the thing I hate about the industry. It’s like awards
all the stuff I’d been listening to down, try and re-embrace it
ceremonies, music isn’t a competition, you make music
and make cheap, shitty dance music on what I could afford.
because you like making the music you make. I didn’t write
It feels like I’m learning as I go along, because before that it
‘Teeth’ and ‘Bad Blood’ thinking “I really want to write
was very much just guitar music, then getting into Afrobeat
this because I’ll win the Q Award”, I want to write this
and Dance, House and Techno shit, it feels like I’m learning
song because it’s what I do. For us, we have won, because
as I listen. I think that’s the reason why I’ve not been such a
we’ve been nominated, we never expected that and we’re
snob about it and said that it has to be done in a certain way.
really thankful for that, but we never asked for it, we never
I don’t really know how it has to be done.
thought it would happen. If you get gratification for making something then it’s a bonus. There’s no money in the music business nowadays so it’s purely for satisfaction rather than profit. Looking at it that way, we’re obviously having to work harder to find satisfaction and happiness in what we do, but also that’s quite a wholesome thing. There’s obviously less money involved so we’re doing it for ourselves.
Words by Ross Jones, illustration by Josh Whettingsteel
30
Dance music has this ability to make you feel ecstatic, it
I think that’s interesting how we obviously said dance
has the energy and the emotion...
music is such an ecstatic thing, so to mould that into something thats so dark and so personal to you, it’s an
Dance music is pretty much the ecstasy of music. That’s
interesting contrast?
what it is, it’s MDMA. You look at the Hacienda scene and you look at the Acid House scene in the 90s, everyone was
The other thing with that is that a lot of dance music doesn’t
illegal raving ‘cause this new drug had come about and it
have lyrics or any real substance, and that’s why I love it.
made them want to dance. Out of that, people fell in love
I do actually care about both of them, and I think they go
with dance music. It’s subculture isn’t it, and I feel like it’s
hand in hand. As long as the melody’s good then it doesn’t
coming back. We were at Swn Festival last weekend, and
really matter.
saw Scalping, Lazarus Kane and then Audiobooks playing stuff from their new album. 2020 is going to the year where
I love how you find that infectious harmony within
this dance subculture just comes back and the UK actually
quite dissonant sounds, it’s like a really cacophonous
does something about it.
unity if you will. I think that’s what makes it such a fun project to listen to and I imagine working on also in the
And what’s interesting about that is that it’s being made
foundational fact that it is that experimental?
by bands? Yeah definitely, I think the funnest part for me has been It’s so true, and the thing that makes me laugh about it now
going in the studio. It comes from my bedroom and then
is that only one of those bands have a drummer, and it was
having it completely reimagined and working with a great
Scalping. It’s fucking well good man, there’s no limits on
producer that you’re having a good time with. I think
how you make your music, no one is telling you what you
making this music that’s come from a dark place and having
have to do to make dance music, you can do whatever the
a great time doing it is how it gives a completely different
fuck you want as long as it’s good.
impression. I think that’s how you translate a song from being a basic bedroom demo to a fucking studio hit. I
Looking at the music you make, it’s so pleasingly
couldn’t give a shit about making any money from this one,
undefined in genre as a whole, obviously we’ve talked
I just want to make the ideal first record.
about how its made it quite liberating when you don’t have the media or the listeners knowing what to expect next, what can we expect going forward? What you’ve got to bear in mind is a lot of the music that was made on the record was made between a stretch of time. It’s dark, because I was pretty fucking depressed when I wrote most of it. It doesn’t sound like it, but the lyrics are dark as fuck, it’s about killing yourself predominently. I didn’t just want to make a sobby record, I wanted to make a dark one that expresses growing up in the north. No one really knows unless you live it what it’s like to live in the north of England during the winter. You get about eight hours of daylight, and its fucking cold, and if you are fucking depressed already then that just tops it off really. I guess this record was written all throughout the year, so you can tell different seasons of where its made and my mood throughout. It’s a dance record really but its not done in a controlled way, it’s however I’ve gone about it.
31
Working Men’s Club
Partisan Records has become the new home and go to label for exciting sounds from alternative artists. In recent years the label have become well known for the international success of Cigarettes After Sex, and who can forget Eagulls’ performance on the Letterman show? Miss that band. Although not limited to, Partisan have had a prolific 24 months when it comes to guitar bands and most notably, the rise of Bristol’s Idles and Dublin’s Fontaines D.C. In search of the secrets, we gave UK General Manager, Jeff Bell and product manager, Ellie Rumbold a call to chat about their roles, the growth of the label and the process behind how their artists are breaking through, selling tickets and even charting. You’ve noted the size of the label in the US vs UK, so The last 24 months with the Cigarettes After Sex album
what has two Mercury nominated albums in one year
into the Idles year, seem to be a pivotal time in the gowth
done for the label’s UK profile?
the label. Would that be accurate and has the growth affected your roles?
Jeff: Yeah, definitely. The one thing that Cigarettes (After Sex) did that was really interesting was that it really built
Jeff: Absolutely. Our office has nearly tripled (in staff) in
our international side of things. It did really well in all of
nearly a year. It’s still a small company at the end of the
Europe, Asia, India, South America, they tour constantly
day but we work very closely with the New York office and
and the streaming particularly is unbelievable. That helps
there’s 15 people there. It feels like one big office. The last
our global footprint but yes, Idles specifically and that
six months we’ve got a lot better at defining roles. Ellie has
one-two punch with Fontaines D.C. has definitely upped the
moved up into a senior product manager now and we’ve
profile in the UK. We never got into it for awards, accolades
now brought on another product manager. My title I guess
or anything like that, but it is nice that people are paying
started off as a label manager type of thing. I joke a lot that
attention. We are finding that a lot more artists are wanting
Americans love giving people titles and I don’t really feel
to work with us as well which is good. At the same time,
comfortable with it, but it’s more of a General Manager role
we appreciate that not every artist and every label is right
for me now.
for each other. So we can really stay true to our core values now that we have a bit more choice. Those two artists, Fontaines and Idles have always been about community and that’s a big part of our ethos.
33
Could you tell us a bit about the label’s journey with those two bands and how their paths differ from each other? Jeff: The paths of how they got to where they are, are very different. Idles had been a band for a very long time and spent a lot of time refining their sound and their message which has become a big part of who they are. They’re from Bristol originally and Zena who is the label’s MD went to uni in Bristol. She knew Joe personally at the time and she was in his life when he decided to be a musician, so there is a history there. But, there was this unspoken truce where they won’t approach each other. So it came back around about a decade later when other people at the label came
How does a campaign differ for a band like Idles who
across the band and started internally championing Idles.
have much of the building process already in place
Idles also had a shortlist of labels they wanted to work with
versus a brand new artist like Fontaines?
and Partisan was on that. They respected what Eagulls had done and that was part of the connection. It’s also important
Ellie: In many ways, Idles created a solid path and creative
that we mention a guy called Tim Putnam who is the
space for bands like Fontaines to thrive. I would also say
president of the label and the source of A&R and the general
that the AF gang (Idles’ Facebook fan group) is now at
heartbeat of the label. Him and Joe really connected. They’d
something like 25,000 but when we started working with
already put out an album and had done so much work in
them it was like 3-400 people and Fontaines had a fan group
building a community. From insane live shows, playing
that was the same.
every room in the UK and Europe, and just really engaging with every single fan. So by the time they needed a label,
Jeff: I think a big part of the strategy for both of those
it was very much a partnership. On the flipside, Fontaines
campaigns was, we hate to use this term at the label but,
D.C. happened pretty quickly. We only met them for the
charting. It was never about patting ourselves on the back
first time 18 months ago and were just instantly captivated
and saying we got a top ten record or whatever, but it was
by them at a small show in London. Within a week we were
about validation that came with having bands like Fontaines
in Dublin meeting them, figuring a way to work together
and Idles ending up in the charts in that way. The message
and that was before a lot of labels showed any interest so
that both of these bands have and what they represent,
we were able to just get straight to work. It was very much
people are really connecting with it and we were able to
Partisan’s values lining up with Fontaines values.
show that by something like charting.
Words by Sam Ford
34
Do Nothing “This isn’t necessarily part of the interview, but you’ve
Getting to support them was crazy, the venue was a proper
caught me right at the end of a three day bender”. So begins
arena, way bigger than anything we’d ever played. Some
the conversation with Do Nothing’s front-man Chris Bailey,
of their gear got stuck in transit, and they were renting all
by way of apology for any less than coherent ramblings that
their kit- building pedal boards in soundcheck etc. That was
may flare up in conversation. The fact that the interview
obviously fucked, but because of the delay, the arena was
was then conducted with a level of cohesive intelligence it
actually fairly packed by the time we got on stage. It was
had no right to have, is I feel a testament to the sharp wit
scary at the time, but looking back, very fun. So we have
and wry bemusement that make Do Nothing so genuinely
some Russian fans now, because obviously with that many
fantastic. Part Mark E Smith, part Simon and Garfunkel,
people in the room, someone’s gonna have to like it, or
the Nottingham band fashion an imprint of gritty cynicism
you’re doing the wrong thing!
among the absurd, all underpinned by a feel for melody that is as euphoric as it is pretentious. They are, without a doubt,
Talking lyrically again, there is this tongue-in-cheek
the single most exciting new British band around.
humour which does really come through. I feel at the moment, there’s no middle ground, no grey area,
In ‘Gangs’, something that comes across is that sense of
between self-aggrandising importance and sheer parody,
claustrophobia of returning to your hometown, seeing
that sort of ‘dancey’ fun stuff. Is that idea of inhabiting
the same people and being in the same space. What are
that middle ground something of particular importance
some of the other major themes or ideas that influence
to you?
your writing, being as lyric driven as it is? You’ve hit the nail on the head there, that’s the main That’s one that sort of changes every time, but always
thing we all bang on about wanting to do. In everything,
happens from just writing down turns of phrase I hear, often
I’ve always wanted to do that, I’m a very middle of the
from other people, and then just stitching them together
road bloke, I think I try and not go into things with a
into something that means something. So I’ll sort of collect
preconceived idea of being radical one way or the other.
words, and then they’ll be enough of them that fit together
So with the music, I wanted to try and have that middle
so I can decide if it means something. It’ll often be towards
ground, because I really admire people who can have both
the end of that process I realise what a song is about, and
sides of emotion without self-indulgence, and people who
have a ‘fuck, it’s gonna be about that’ moment. It’s a really
can have humour without losing their point. I think you
horrible process, it sucks - it’s made to seem quite off the
offer a lot more if you at least try to be able to do it all.
cuff, but it actually takes fucking ages tinkering around with
There’s an element of trying to keep it open, so people can
exact phrasing. More recently, I’ve been having problems
take what they want from it rather than having a thought or
with knowing when a song is actually done- you don’t even
feeling jammed down their throat. The lyrics are so absurdly
know whether they’re any good, because it goes through so
specific to me, to the point where other people trying to find
many different incarnations, that you have this boneyard of
the same meaning in them is futile - but this means it just
dead ideas building up for the same track.
lets them feel what they want towards it. It’s almost like challenging people to a cryptic crossword only I know the
You guys supported Interpol in Moscow, what was that
answers to.
like?
Words by Dan Pare, illustration by Cameron JL West
38
BODEGA Brooklyn based art-punks, BODEGA seem to have emerged
I don’t want to use the word ‘indictment’, necessarily,
from the hype surrounding 2018’s ‘Endless Scroll’ more-
but ‘Shiny New Model’, both as a track and with
or-less unscathed, although the way their songs drip with
accompanying video, seems a harsh critique of
New York acerbic wit, it’s difficult to imagine anything
the human relationship to technology and empty
fazed them. New mini-album ‘Shiny New Model’ is both
consumption. Is this sort of interaction something
a collection of frenetic, narrative driven pop songs for a
particularly important to the band?
generation defined in part by its’ embrace of technological and environmental existential dread, but also an exhibition
Yeah, I’d say so. Maybe the biggest theme of our era right
of a band growing into their own collective vision. With an
now is our relationship to technology. It’s not something
uncompromising willingness to experiment with the formula
so simple as “ah, people are spending too much time on
that has thus far defined their sound, their brand of angular,
their phones” or whatever, it’s bigger. Our relationship
uncomfortable indie-rock has been refined somewhat,
to our phones is changing the way our brains work, our
leaving the anxious, humour laden trickery so characteristic
relationship to data, to the way we think about what is true
of the band remaining.
and false, and it’s almost like if you’re trying to be an artist in this time you can’t ignore that. ‘Shiny New Model’ is
We caught up with band leader Ben Hozie for a chat about
about the guilt of the cultural consumer, that feeling of any
technology, avoiding micro-politics, and the dangers of
time you’re buying something, whether a rack of paper
getting too caught up in your own head.
towels, or a book, there’s the guilt that someone, somewhere is suffering for it in the global scheme of things. I’m not
I remember around the time your last album came out, it
saying that moral choices are a zero-sum game, but it’s
seemed like all sorts of music critics were really getting
important to at least get people to think about.
off on trying to splice together bands to describe your sound. Would you say your new work owes a particular
It seems that by trying to critique the problems of
debt of inspiration to a particular act or artist?
our time, you’re remaining fairly apolitical whilst also remaining very socially conscious. Do you think
Well, I’ll say one thing- one of our main goals was to not
it’s necessary for artists at the moment to try and be
sound like [first album] ‘Endless Scroll’. We’re obviously
political? Or is that where it starts to go wrong?
the same band, and we all liked what we were doing, but we didn’t want to get stuck, and we wanted the listener to know
I see what you’re saying- we’re not saying ‘vote for x
that theoretically BODEGA could go anywhere. That’s
person’, so we’re not political in that sense. But every
why the first two songs on the record are really breezy,
song that’s ever made is politically conscious in some way.
melodic pop songs, and we thought people would expect
I think you’re right, in that we’re trying not to push an
something much more punk and angular, like the third track.
agenda, but ask people to ask the bigger questions, think
We use the term ‘indie-rock’ a lot, which isn’t that far from
about the ethics and how to live your life, using metaphor
‘Endless Scroll’, but seems to broaden the palate a little bit.
to talk about living a more authentic life, where each
We want to be a band who change all the time, who people
gesture has more meaning. That’s political, but open to
like because they’re good songwriters, not because they
interpretation.
have one particular sound that was interesting at one point.
39
Words by Dan Pare, illustration by Eunjoo Lee
U-Bahn What’s special about where you’re from? Has it inspired your music? Melbourne is a vortex of creativity and community. It’s almost impossible to not be involved in some sort of artistic or musical project. With so much exceptional music being made here, you can’t help but be influenced by what’s going on. Whether musically, aesthetically, or through work ethic alone. What can we be excited for in the next 12 months? Touring, exciting opportunities and new material. We’re currently in the process of recording our second LP, and (with at least two EP’s and half an Album’s worth of extra material sitting on the back burner) we have no plans of slowing down and evolving our sound.
Julia Bardo Can you tell us who you are, where you’re from and about the music you make?
Los Bitchos
My name is Julia Bardo, I am from Italy and 3 years ago I
We are Serra Petale (Australia), Carolina Faruolo and
moved to the UK because I knew that something in my life
Agustina Ruiz (Uruguay), Josefine Jonsson (Sweden)
needed to change. I don’t know how I would describe my
and Nic Crawshaw (UK), all based in London. We make
music other than “personal”.
instrumental Psych Cumbia-inspired tunes.
What led you to start writing and performing songs?
Can you tell us the story behind one of your songs?
I used to sing in a band when I was 19, back when I lived
Serra: We have a song called ‘5 Years, 2 Years, 1 Year!’ It’s
in Brescia, my hometown. But I haven’t properly written
the fastest I’ve ever written a song. I had been at Carolina’s
my own songs since I moved to the UK. When I came here
a few days before this epic snow storm hit London last year,
I didn’t know anyone so I taught myself guitar and started
listening to lots of King Gizz and other assorted bands with
writing about what I knew the most: myself. After a year in
epic tunes. And while I was trapped in my house, out came
the UK I decided to go to a music college to meet people to
this 6 minute wild number.
play with and there I met and joined Working Men’s Club. Meeting them definitely shaped my style and my music
Carolina: The name comes from a shocking Megabus ride to
taste too. Writing words has always been an urge, since
Portsmouth to play a show. We were all struggling and in a
I was younger and it definitely helped me and healed me
desperate attempt to try to keep the spirits up I said “Guys,
when I felt lonely or heartbroken and when I had nobody to
in 5 years, well 2 years, NEXT year when we’re touring the
talk to other than my notebook and my inner self.
world this will all be worth it!”
Football FC We are Football FC, we’re from Bristol, and we make noisy Deep Tan
spunky post punk for anyone who’ll listen.
Can you tell us who you are, where you’re from and
Can you tell us something that you collectively really
about the music you make?
love?
Waf: We all live in London, but none of us are from here.
This was a hard one, we don’t have much in common apart
In different ways, we all came to London because of music,
from our music taste, a discomfort with Tory Britain and
amongst other things. For Celeste, Dublin didn’t have
a love of alcohol, so it took some decent brain power.
nearly enough gay bars either (laughs).
Something we collectively love is Toms van. That is an amazing piece of kit. It will get you anywhere you need
Celeste: Yeah, the bigger pool of music obsessives and
to be without fail even though it looks and sounds like
lesbians with weird hair cuts definitely appealed.
it’s ready to keel over and pack in. It’s how we get to all our shows, 2 in the front 2 in the back on the way with a
Can you tell us the story behind one of your songs?
traditional spliff on the M4 on the journey home, nothing better.
‘Constant Inconsistencies’ is about a person who doesn’t show up when people need them. You know this kind of person, the human flake. It could be your flaky lover bailing on a dreamy date you’d planned for ages, or it could be your
Legss
favourite flaky drinking buddy who leaves you waiting at the bar alone for an hour with just a pint that’s going flat
We’re Legss and we’re a four piece group from London and
(and the bartender’s pitying eyes) for company. You love
Liverpool who make a coded, guitar-based, dusty sort of
them, but where the fuck are they?
music. Can you tell us the story behind one of your songs?
Mice On Mars
In Vallotton’s La Charge, armed guards ignite social unrest with truncheons and swords in a crowded Parisian square.
We are Zac, Fred Shaky, Alfredo Shtick, George Elderman,
In Peckham’s up-and-coming gastro-pubs, similar scenes
and Will Do - all from Yorkshire bar one. We make songs
irregularly occur when twenty-somethings and forty-
about how tragic humankind is.
somethings fight it out (under hushed breaths and canopied astroturf) to decide, once and for all, who is the most unsure
What’s special about where you’re from? Has it inspired
about what they are meant to be angry about. No one can
your music?
escape the harrowing pull of South London at the moment, and to what effect that is having on its populous is touched
The fish and chips are incredible- as are the surrounding
on in the lyrics of our song of the same name, ‘La Charge’.
views and pint prices. In terms of inspiration, the lack of things to do is the most crucial factor in us starting to play music. Can you tell us something that you collectively really love? A good fire in the garden.
Illustration by REN
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