So Young Issue Forty-Five

Issue Forty-Five

Also inside: Slowdive Carnations Militarie Gun The New Eves Sailor Honeymoon Picture Parlour Ethan P. Flynn Fcukers

Julian Alexander, Chariot (Won’t Catch Me), Graphite on Toned Paper 8.5” x 11”

Issue Forty-Five introduces London’s most chaotic secret, Fat Dog. Following two years of building a feral live reputation, it’s finally time for Fat Dog to unleash some recorded music upon an already large and loyal following.

We spent an hour or so with them at The Social in Soho to dissect just how their frenzied live shows have built so much hype, recording with James Ford and battling it out with the big names on tour. They’re on the cover.

Slowdive have found new energy and new life within the re-emergence of the shoegaze genre. Though flattened by Grunge and Britpop in the 90’s, the band have escaped the heritage tagline upon their return, and boast a youthful energy in their audiences. We chat to Slowdive about their hunger to learn from the new crop and how music discovery has changed since those early days.

London’s Picture Parlour have been turning the heads of those with their ears to the ground for the last 12 months.

Since their public arrival via debut single ‘Norwegian Wood’, the speed of their success has been unfairly questioned. We discuss that along with their decision to ditch their Masters degrees.

Ethan P. Flynn is no stranger to our pages. Alongside the launch of his own label, Crude Oil, Ethan has announced his debut album. ‘Abandon All Hope’ is more hopeful than you’d possibly assume and we discuss that along with the influence of the classic singer-songwriters in his collection.

4 Ethan P. Flynn Crude Oil 7 Sailor Honeymoon Cockroach 12 Militarie Gun Beans on Freaking Toast 18 Picture Parlour From the Windmill to the World 22 Fat Dog Togas and Shades 32 Carnations Sydney Egg Punk

Heading to the south coast, Brighton’s The New Eves made their debut via London tastemakers, Slow Dance and their annual compilation. Now teaming up with leaders of the new folk movement, Broadside Hacks, the four-piece have unleashed new single ‘Original Sin’ and we gave them a call to chat about it and their self-described ‘Hagstone rock’.

In New York, Fcukers are making house music as a threepiece and pairing it with immersive live shows. Following their debut trip to Europe where we hosted their first show in London, we gave them a call upon their return home.

Staying in the US but heading to LA, Militarie Gun have recently released their new album, ‘Life Under The Gun’.

We interview the band to discuss making friends on the road, forging their own identity and finding the balance between mainstream and indie rock.

Completing our music conversations are Carnations and Sailor Honeymoon. The latter are South Korea’s most exciting new band, providing a punk rock response to the mainstream pop sounds that are awash in the country.

And Carnations are Sydney’s in-between scene’s brightest hopes. The band have more in common with the Egg-Punk that’s re-emerging in the US but are generating a buzz within a supportive Sydney community of bands. We chat to them about British influence and rapid growth.

To wrap up the issue, we discuss how the future of alternative music is being led by an exciting crop of female artists, and the GradList returns as we partner with Arts University Bournemouth to showcase some of their most talented new graduates.

35 AUB GradList 2023 Arts University Bournemouth 40 Fcukers People Want to Party 43 Female Future Women are Reclaiming and Reshaping Guitar Music 47 Slowdive Kisses 54 The New Eves Hag Stone Rock

For someone only 24 years of age, Ethan P. Flynn has

It’s just me doing an album in the most legitimate way I

already had a rather plentiful career. With credits such

can - 12 days in a studio, get session drummers in, play

as performing on David Byrne albums while still in full-

these instruments I can never afford like Steinway pianos.

time education to writing large portions of FKA twigs’

I’ll probably go back and do more DIY stuff, but I always

masterful ‘Magdalene’ album, you’d think that Flynn

wanted the first album to be made the same way my

had been around for a lot longer than he has. For anyone

favourite albums are made.

familiar with his work already, it might come as a surprise that he’s only now gearing up to release his debut album,

What sort of touchstones were there in terms of your

‘Abandon All Hope’.

favourite records that influenced you?

Granted, there have been works from him prior to now,

I’m talking about classic singer-songwriter records,

such as his first record – a mixtape of sorts winkingly

because I knew that’s what I wanted to make. They have

titled ‘B-Sides and Rarities: Volume 1’ – and last year’s

such an established sound; you’ve got the acoustic guitars

remarkable EP ‘Universal Deluge’ which leaned further

with drums, bass, piano, electric guitars, and they all have

into experimental pop territory. His ‘real’ debut however

a certain function within that world. I think that’s what

comes in the form of a turn towards traditional techniques,

I really wanted to strive for, where it just feels like this

opting to focus on putting together a record that pays

one big moving wall. Take an album like ‘After the Gold

homage to classic albums of singer-songwriters from

Rush’ where you don’t really realise how masterfully

the past. It’s not to say that ‘Abandon All Hope’ sounds

made it is just because the songs are written so well, and

nothing like anything Ethan P. Flynn has done before,

everything else around them is there as support. You never

because there are certain hallmarks of his work that

focus on that; you’re just focusing on the songs. I guess

continue to make themselves apparent throughout, but

everything you’ve ever heard is an influence, even stuff

what it is is a statement from someone who is already

you don’t like, because that influences things that you

on track to becoming one of the next generation’s most

don’t want to do.

important songwriters.

How long did you have the idea in your head that that I always associate you with being labelled as prolific -

was the album you wanted to make?

but this is your debut album. What about the songs on ‘Abandon All Hope’ stuck out to you as being the ideal

When I did ‘B-Sides…’, I wasn’t particularly into classic

debut?

singer-songwriter stuff. I was a lot more into electronic stuff and I was trying to make it as a rap producer, which

I mean, there’s a lot of songs on here that I’ve saved for a

I do still want to do. When I dropped out of uni, I started

few years that could have ended up on previous releases

studying the discographies of people I should have

I’ve done. It was less about the songs themselves and

listened to as homework. I feel like that’s when I started

more that I could record in the manner that I’ve recorded

developing this thing and writing some of these songs.I

the album. In the past, the structures and textures lent

started writing when I was 10, though. It was just pure

themselves to more electronic/DIY stuff, but that’s not

expression; I wasn’t even thinking about references. I

what this album is at all. I needed songs that could be

actually dug up some of that stuff – it was a bit like The

done in a more classic singer-songwriter style, because

Shaggs. I didn’t know what I was doing, but I knew what

I’ve always been a believer that you need to learn to do

I wanted to say.

something the right way before you can take it apart and get more expressive with it.

Words by Reuben Cross, illustration by Julie Alex

4

They didn’t know how to lay down anything to be in time

It also lends its name to the record label that you’ve

with each other, but they’re all performing these songs

just set up and released a song on with your partner

about these simple kid things, and that’s why those albums

and collaborator, Ava Gore. Can you tell me a little bit

are still talked about and listened to even though they’re

more about that?

terrible.

I called it Crude Oil after the song existed. I felt like it The other thing that’s been alluded to is the fact that

comes from the ground and is super valuable, and then

there’s more of an overarching theme on the record.

it’s refined down into other stuff. I kind of like the idea

What were you looking to explore in particular?

of whatever I’m doing being unrefined, like pure fuel. It makes sense to be called that and there’s a couple of lines

It’s not like a concept album, but more of a study of my

in the song about oil and drinking it. I just needed to name

psyche. At the time I was recording it, stuff would just

the label and it fit with the ethos approach to how I would

reappear because it came from the same place. I knew it

like to do it. I mean, it doesn’t have to go through the

would end up having unifying themes, but hopelessness is

whole refinery process if it’s not necessary.

the short way of saying what it really is about.

It’s all on your terms.

The bleak world that we’re in, basically.

Yeah, if the artist likes the way we’ve done something I don’t like to think of it as too introspective; it’s not

then we can just put it out. Making the Silver Gore song

a “the world is fucked” album. I mean, it’s also quite

with Ava, we didn’t really realise we were making a

hopeful. At the end of the first song (‘In Silence’), I

song until we finished it and realised it was really good.

say “the day I always hope I get to see”, and then the

She’s such a good writer, but I didn’t really know that.

remaining songs are like a push and pull. ‘Bad Weather’

We’d already made ‘Abandon All Hope’ and she sings on

is a really hopeful song as well, especially where I say,

every track on that, so I knew she was good at singing

“don’t let the bad weather outlive you”. It’s about braving

and recording vocals, but she’s quite intuitively good at

the storm, that’s the theme I would like people to take

writing too. We’re definitely going to do a whole record

away from it rather than ‘Abandon All Hope’.

because we work together so well already.

I was going to come around to ‘Crude Oil’, one of the

With the album not out until October, what else have

most impressive bits of work in your catalogue. How

you got planned for the remainder of 2023?

did this multi-movement epic develop?

It’s not locked in, but the plan is to do a tour later in the Firstly, it was always all one song. I made it like

year. I’ve never done a tour with my own stuff, but I did a

generatively, section by section, adding onto the end. I

few dates this year playing on my own acoustically quite a

mean, it ends with a folk song that I didn’t write, but I

lot, which I haven’t done that much. I can’t speak for the

really liked the arrangement that we got of it. I just felt

audience, but since I’ve been changing my approach to

like the song wasn’t over. There’s a bit in the six minute

writing, it feels like even the more arranged songs on the

mark where you think this is the end, and then there’s

album make more sense when I play them. Also I know

10 more minutes. It just felt like I didn’t say what I was

that if I make a mistake, I can land on my feet or just say,

trying to say. It’s about this paranoid feeling of being

“oh shit, I made a mistake”, whereas when you’re playing

persecuted when you’re not, and the point where I say

with a band, you can’t do that. It’s just good to go out and

“I’ve been a little too sentimental for a little too long”,

play and just talk to some of the people that are actually

felt like what I was trying to say the whole time. After

listening to it, hang out and just talk about music with

12 minutes of singing, we then strip it back, which is my

people. That’s the shit that I like.

favourite part of the record.

5

Ethan P. Flynn

Next up, our eyes are drawn eastward, and I don’t mean to

We realised we didn’t actually have any songs, so Zaeeun

Hackney or even Southend, but across seas and mountains

and I started writing random songs to get enough material

to South Korea. Here lie the pest-purging punks Sailor

to fill 30 minutes.

Honeymoon, united by drummer Abi Raymaker, and guitarist Zaeeun Shin. The pair are ready to exterminate,

Zaeeun: I started out as an electronic music producer and

with a defiant retort, Korea’s meticulously engineered

DJ under the name Halla, and I’d been playing guitar in a

pop scene and express themselves without any outside

band called GYOJUNG for a long time before we started.

regulation or meddling.

I’ve been longing to start a punk rock band since I was young, so I think my childhood dream has come true.

With infectious guitars that burrow deep into your skin, cyclical swatting drums, hive-humming basslines, and

I think what I love most about ‘Cockroach’ is not only

deadpan, ironic vocals, Sailor Honeymoon have been

its rawness but how much fun you seem to be having

fumigating unwanted pests with their debut single

with it.

‘Cockroach’. Shortly after, they flew over to London to record with producer Luke Smith (Foals, Life, Keaton

A: While we were writing, I remember having no idea

Henson) and play a few shows. We caught up with the

what to write about. But I had a battle with this cockroach

band while they were in the middle of mixing their debut

I saw in my house, and that felt bizarre but real enough

EP, set for November via Abi Raymaker’s new Seoul-via-

to be a silly demo. The demo came out super fast, and

London label Good Good Records.

Zaeeun added some cool guitars. Maybe one reason it feels fun is that writing songs is still genuinely new and

You have now entered the world as Sailor Honeymoon,

exciting to me. I’m always surprised that anything even

and you’ve brought with you your debut single,

comes out when I try to write something.

‘Cockroach’. Can you tell me about your individual experiences in music before, and what were things like

What’s the best pest that you could find in your house?

when you first came together?

A: Ideally none! But in the summer in Korea, mosquitoes Abi: I don’t have a tonne of experience as a musician, but

are unavoidable, so I guess I don’t mind them much

I have been a music photographer for the past 5+ years as

anymore.

my “day job”, which definitely made making music more approachable. We started out a little less than a year ago,

Z: I met a Grima (a Korean centipede) recently. It was

just jamming and playing covers. Then, in September last

terrible, but I killed it with bug spray and sent it to the

year, we were offered a chance to play at a local Seoul

toilet. Goodbye, evil pest.

festival, Block Party.

7

Words by Will Macnab, illustration by Sakshi Jain

You aim to challenge the flawless and pristine image

A: K-pop culture affects all levels of music in Korea

that practically surrounds Korean pop culture. Punk

in some way. The relationships that music companies

music must have felt like the natural genre choice to

and artists have here, from indie to commercial, are

lean into?

very different from those in the UK, primarily because the K-pop model has established a certain standard.

A: Sometimes, it feels harder to get to the more raw side

Companies expect more control from the artists, although,

of Korea, from the outward appearance of people, places,

on the flip side, I’ve also seen artists receive more direct

and things to how people are really doing, feeling, and

assistance or service from the companies. I definitely

being. Punk music feels like the musical representation of

think that for artists that want to protect their freedom and

what we’re constantly looking for in a place that can feel

independence, it’s more difficult in Korea than in the UK,

overly perfect on the outside.

but there are good people who love music who want to support artists too.

Has punk music always held a place in your heart?

Z: K-pop’s reputation has grown so great, but I still view A: Punk is cool to me because it has the most potential to

it in a negative light. The suicides of celebrities who

evolve and stay relevant of any genre. The issues at hand

were active as idols are very tragic. And since most of the

and even the instruments of music-making can change, but

consumers of K-pop tend to be younger, I think they need

the underlying values of punk are timeless and will always

to be exposed to idols with more diverse styles, ages, and

be necessary. I think Fugazi, Kim Gordon, and The Slits

personalities.

inspired me a lot.

And you came to London just a few weeks ago; did you have a good time?

Z: I think punk is to stand on the side of the underprivileged and marginalised, to pioneer a new path without following the mainstream. It reminds me of the

Z: There were so many pleasant memories in London.

first time I saw a picture by Nan Goldin. That was a big

Recording all week in Luke’s studio, the two gigs in

shock to me at the time and an introduction to a punk

London were a dream come true. It was so much fun going

perspective on art.

to my first overseas festival, Wide Awake, and walking through Shoreditch with Nijuu, a Korean artist living in

Standing on the side of the underprivileged and

London.

marginalised, are there any specific social or cultural issues in Korea that you hope to address through your

A: We had an amazing time, and recording with Luke

music?

was super fun. The concerts were also so fun; we loved Lambrini Girls; there’s no band like that in Korea. And

Z: As women, we are interested in fighting discrimination

making sandwiches from Tesco every day.

against women in Korea. There are many crimes against women in Korea these days that are tragic and terrifying.

I have to know what your favourite Tesco meal deal

We want to fight against that through music, and we

combo was.

hope that those who want to be in solidarity with us will sympathise and join us as a community.

A: We were advised, for economic and taste reasons, to avoid the premade sandwiches and instead buy supplies

There is the “pristine” output of K-pop, yet there is

and make our own. The bag of bagels, cheese, and salad

labour abuse that seems to be soaked into its input. Is

bag combo that was recommended to us was a good one.

it limited to just K-pop, or is it something that seems

We are open to other recommendations.

to be prevalent across other areas of Korea’s music culture?

9

Sailor Honeymoon

When you were playing live, did it feel any different

For me, these are always different and exciting

than playing shows back home?

experiences, and they are experiences I want to go through until I die!

A: Yes, Korea’s underground music economy is very different; a brand-new indie band’s concert will cost at

Now that you’ve dealt with your cockroach problem,

least £20–£30 a ticket, so you won’t see many people

what’s next for you both?

who aren’t already fans wander into someone’s show. It was fun to have a free show; I think our other show was

A: We recorded seven tracks in London with Luke, so

£6, and seeing people who had come for the other acts or

we’re excited to release our first EP this fall. And Zaeeun

maybe just wanted something to do that night stuck around

and I both remixed ‘Cockroach’, so I’m looking forward

for our set too—I wish that was feasible in Korea, but the

to putting that out. We have some fun shows coming up in

crowds for this kind of music are smaller. Charging such a

Seoul—inside the old Seoul train station and at a festival

low ticket price doesn’t even get the venues covered.

with loads of other bands we like—so we’re looking forward to that too. Otherwise, we will probably keep

Z: I think of a live performance as a time and moment

playing, writing songs, jamming, and looking forward to

created by me, the band members, the atmosphere of the

the next time we can come to London.

venue, and the atmosphere of the audience.

@saksij

10

Illustration by Yihan Sun

It makes sense that Militarie Gun have made a habit of

We make music that we want to hear so it’s exciting others

dropping a scuzzed up cover of Husker Du’s grunge ballad

have taken it to heart.

‘I Don’t Wanna Know If You Are Lonely’ during their hectic touring schedule of late. Brimming with a palpable

Given how busy you’ve been on the live front, how did

sense of agony and angst, the LA five-piece have quickly

‘Life Under The Gun’ come together, was it a fast and

built a heavy rep on both sides of the pond with their

impulsive process?

blend of classic rock, hardcore and grunge.

It was very impulsive but it wasn’t a fast process. Some Somewhat outliers in the current sea of alt-rock and

of these songs have been around for quite some time but

post-punk, the band have more in common with Pacific

it was really just about writing and then making sure

Northwest giants of the grunge game as opposed to

that we were good enough at performing it. The record

anything on the scene today. Catching up with frontman

got demoed three times in full before it was recorded

Ian Shelton over Zoom, he explains, “A huge part of this

for real. A big part of that was improving on the vocal

was taking ideas or sounds that belong to bigger more

performances and getting good at singing these songs

mainstream rock acts, but then running them through a

before committing to them for real. The songs were very

filter closer to indie rock where it’s so much more about

much pouring out of us at the time, but it was about taking

vulnerability.”

a second and nailing it.

Indeed their ideas are as vulnerable as their sound is

You recorded part of it in Dave Grohl’s LA studio

versatile. Openness is at the very heart of what Militarie

which must have been special?

Gun are trying to achieve with their debut album ‘Life Under The Gun’. Rife with a sense of inner turmoil, the

Yeah we did some of it in Studio 606 on the board from

album doesn’t pull punches when it comes to unleashing

Sound City, so it was the board that ‘Nevermind’ was

heavy themes. “I want to be as open as I can and create

recorded on and Fleetwood Mac. So many incredible

the same feeling for someone else that I felt when I heard

artists have used that exact same piece of gear. The goal

records that spoke to me,” he continues. “I want to put

for this was to make a classic rock album and we used all

myself out there in the same way that others did who in

of the classic rock tools that we possibly could. That thing

turn helped me form my own identity.”

has literally touched so many classics so it was an honour and a privilege.

You’ve done your fair share of flitting across the Atlantic Ocean of late before the album has even

It was all very surreal, we came in so prepared because we

dropped, it must feel like the wind is really in your sails

knew we were stepping into the arena of music at large.

at the moment?

It’s interesting you mention making a classic rock We’re so ready for the record to be heard, it’s exciting for

record, you get that from the very opening riff that

the world to just have it accessible and to be able to talk

could come straight off a classic AC/DC album…

about more of these songs that we’ve been excited about for so long. It definitely feels rewarding to have built up

It was everything really, it was about taking all of these

that momentum on both sides of the pond.

elements and running through our filter.

Words by Rhys Buchanan

12

I could try and write a song that sounds like The Who but

You do have more in common with the likes of Built To

it’s not going to sound like them because I’m not that kind

Spill or even the abrasive elements of METZ, have you

of singer. I hope the identity of my vocals is what stands

found many contemporaries on the scene?

us apart from being just a homage to other artists. We’re trying to walk our own path. These are short attention span

We’ve made a lot of friends out there on the road. I think

songs, that’s who I am as a person and that’s a big part

early on we got lumped in with certain bands but I hope

of my identity. I enjoy things being short, so taking these

we’re on our own island sonically. I don’t want to feel like

elements and running them through that blender.

we’re fitting in anywhere but it’s so crazy how we have our own tight circle. A lot of the people are those I worked

In LA you’re surrounded by classic rock institutions

with in my previous band and my career as a music

like Sunset Boulevard and The Roxy, The Whisky A Go

video director. We tour together, play shows together

Go - do you get a bit starry-eyed by that?

and see each other at festivals and it’s a really gratifying experience.

Absolutely, not even just in Los Angeles either, we’ll go to Irving Plaza in New York and you’ll see all of the absolute

On that note, is it just about soaking it up when you’re

giants who have played their stages. You’re just aware of

over here running around Europe and tastemaking

that history in every moment and you just hope you feel

festivals like The Great Escape?

worth being in the same place.

It’s hard when you’re touring Europe because the schedule On the flipside, you grew up in Washington and it

can be so hectic so it’s really about trying to find the

definitely feels like more of a rainy Pacific Northwest

moments to walk around a new city and take it in or go

record than a sun-soaked LA one…

and find some regional food. When I come to England, I want beans on freaking toast and hash browns you know?

I mean the gloom is definitely a part of who I am as a

It’s about finding those little things that can allow you to

person. It’s trying to say something emotionally true,

sit in the fact you’re not at home. That’s the thing about

bands like Modest Mouse and Built To Spill are a huge

going to foreign countries, hopefully you’re doing things

influence on Militarie Gun. We try to be vulnerable at

that make you feel like you’re not just in America even

every chance, that’s a huge part of the process here. Even

though there are a shocking amount of similarities due to

when we stray into pop lanes, we try to delve into a more

the global stranglehold of corporations. It’s about finding

subversive place lyrically to say something else that

the little things to appreciate.

wouldn’t normally be said over such material.

Given your music is so personal, seeing it connect I guess the album title itself plays into that openness in

through heavy touring must be really powerful?

some ways?

Definitely, you find so many people relating to what I wanted to create the feeling of being stuck under

you’re speaking when you go on the road. Sometimes

something and it creates a very dramatic feeling. It

when writing, you can feel like you’re saying something

puts out the vibe instantly, I wanted to talk about the

incredibly specific but then you find out hundreds of

oppressive force and concept of abuse, how if you grow

people somehow feel like they’ve had the exact same

up being abused then you’ll hurt other people. Culturally

experience and that’s one of the really cool elements of all

we’ve arrived in a moment where we’re seeing people

this. Sometimes people start sharing their personal stories

being taken to task for these things. It’s observing that

as well but that’s where artists play their part, we’re this

cycle as a first person because I’ve been hurt and I’ve hurt

conduit for people’s own trauma. They might not be able

others. It’s about keeping your life moving forward in a

to put it out into the world but hopefully we can help

positive way where you’re not doing the same things over

them. It’s a beautiful thing and it’s a cool process.

and over again.

13

Militarie Gun

Mere metres from where I saw Picture Parlour play

K: The day we had the Bruce Springsteen [support], I was

their first London show at The Windmill in Brixton last

supposed to have my penultimate dissertation meeting.

December, I sat down with frontwoman Katherine Parlour

I had to attach the poster. I said I know this sounds like

and guitarist Ella Risi to talk through their whirlwind of

absolute bollocks but I promise it’s true.

a journey so far. In just six months, the pair along with drummer Michael Nash and bassist Sian Lynch have

What did they say?

captured Courtney Love’s heart, shared stages with Bruce Springsteen and found themselves in the eye of a social

K: I’ve not opened the email.

media storm sparked by an NME cover and fueled by heavy doses of misogyny, homophobia, and racial and

Hahaha

class erasure. As NME’s emerging artist coverstars, the release of their debut single, ‘Norwegian Wood,’ saw

K: I don’t want to know, I’m genuinely afraid.

them embroiled in many, scathing, but undeniably creative speculations concerning their breakthrough. With enough

What’s been the biggest adjustment in the last six

coffee to run their next tour bus, we discussed these

months?

unfounded accusations of nepotism, the pressures facing female artists in the industry, and their pride at being

K: Probably having false narratives propelled across the

working-class Northern women.

internet and not being able to change them.

How’s life been since you played The Social for us in

Ah, ye olde nepotism accusations?

March?

E: It’s the last thing we expected.

Ella: It’s been nonstop in the best way. Demoing, preproduction for shows, writing new material, trying to keep

K: We thought there might be some misogyny. We were

to a timeline…

accused of sleeping with producers and stuff, we expected that kind of thing. But we were just like why would

Kate: And we’re both doing a masters degree.

[nepotism] be something that would have weight?

God. How’s that going?

Frustrating.

E: Gone out the window! It’s due in a month and I haven’t

E: It’s easy to take everything very personally when

started…

you’re getting attacked but the way it spiralled so quickly, I think it’s more of a general frustration with the industry.

You’ve got a pretty good reason.

I mean, we’ve all done it haven’t we? Seen people get places and gone ‘nepo baby.’

Words by Natalia Quiros-Edmunds, illustration by Cameron JL West

18

K: It’s a political thing but it shouldn’t be as vicious

K: Patti Smith, Stevie Nicks, Janis Joplin. They’ve always

as individually picking out each member of a band and

been there but it still surprises people when more come

thinking, I’m going to dox them, or racially erase them.

along. Maybe it’s because it’s not so easy to conceptualise,

I’m going to make misogynistic comments and tell

it’s less common. You see it at gigs sometimes now that

them they’re crap and they’re never going to make it. It

we’re playing daylight shows. I’ve got bad eyesight but

shouldn’t be an individual witch hunt. It’s not just the

you cannot miss the guys in the audience who are like…

music industry, the country’s a joke. There’s so much unfairness. But when the frustration is misdirected, it

E: Arms folded.

really is like the Twilight Zone.

K: They almost want you to feel fazed by it. And How do you feel about your breakthrough being

sometimes by the end of a show, you win them over. But

accompanied by these larger industry conversations?

we had this guy the other day who was literally shaking his head the whole time. All you can do is smile and wave!

K: It would be a million times easier to not be part of any conversation and just crack on with the music. But I’ll

Has this hostility impacted the band in other ways?

always give my honest opinion and I’ll take shit when I deserve it. Like, there’s absolutely inherent privileges

K: [‘Norwegian Wood’] was the last song I thought would

that have got us into this position. The fact that we’re

be our first single. But as women playing rock music,

white women playing at a time when the industry wants

we thought if we release one of our demos that are more

female-led bands. I understand those privileges. But what

out there first, it would be, ‘What are they trying to do?

irks me about it is the disregard for the barriers we’ve had

They’re trying too hard’. So we thought you can’t knock

to face and are facing now: misogyny, homophobia, Sian

‘Norwegian Wood’. Say what you want but you can’t

consistently being called white - she’s not white, she’s

say it’s bad. And that’s what we’ve seen. It’s just a lot

Filipino. I’m happy to be part of any conversation but we

of, ‘meh, it’s nothing new’. That’s what we had to do to

became this blank canvas. And we exist beneath it. We’re

establish ourselves as women in the industry: think about

a band but no one’s speaking about the music.

which songs to release when, so we can get people’s attention without ruffling too many feathers. Which

Absolutely. Comments on strong show(o)manship

ironically happened with the NME cover anyway.

also seem to prevail in discussions of your live performances.

E: I think a lot of male bands’ transition into the industry is more seamless because that’s what people are used to

K: It’s important to still talk about that because it’s

seeing. People don’t question it because that’s the norm.

connecting those two things. It’s saying, this soul thing I

But when it’s a group of women who seem to emerge quite

have? Women have it too.

quickly, it’s like there’s got to be something going on.

E: Some of our biggest inspirations are women in rock.

19

Picture Parlour

I heard you only picked up a guitar six months ago.

K: Our manager was like, don’t worry about it. It happens to girl bands all the time. Grow your thick skin, it’s

E: Haha, we’ve been in bands since our childhood.

fucked up but you can’t let it bother you. And I was like, honestly though, I feel like roadkill. The band is roadkill

K: And the project’s been going all the way through uni. I

and there’s a car and it’s just repeatedly reversing over our

broke both legs and still carried that band, you’re telling

heads. It was one of those situations where if you don’t

me I don’t graft!!

laugh, what else?

E: A lot has gone into it. We knew this was our last

You’ve repeatedly been identified as middle class in the

chance saloon because apparently women have an expiry

media.

date. So we made sure that everything was prepared. We rehearsed together for two years before we played live.

K: It upsets me that potentially that’s the narrative now.

I said to Kate, if we want to stand a chance, we need to

Your working-class identity is such a sensitive, personal,

have a catalogue of tunes ready to go. We need to be as

special part of yourself. It was something that limited me

tight as we possibly can. A lot of that comes from being

through uni, something that people would judge me for

in environments where you’re the only woman in a music

and that, at points, I felt shame and conflict with. And now

class. You’d be picked apart for all sorts; for your gear

that I’m in a position where I can belt it from the hills and

setup, your technique.

be proud, it’s being taken away from me. That’s difficult.

K: We balance each other out because Ella cares about all

E: There’s also shame that comes with these things. I

that and I couldn’t give less of a fuck. It’s a perfect storm.

shouldn’t feel like I have to go online and air my family’s struggles to prove the band’s authenticity.

E: When we were moving to London last year, we sent a bunch of emails with a SoundCloud link to all the venues

K: We felt like we had to make our suffering public. That’s

we knew of. A lot didn’t respond but luckily Tim from The

not part of my art. Sometimes I don’t even know what a

Windmill did. We were like, imagine if we could play our

song means until I reflect on it months later. The reason

first show there? And it happened. It’s been a fever dream

we make art is to express without having to be literal. But

since. This doesn’t happen to people, women, where we

that’s the weird thing about the industry, we’ve got to this

come from.

point where nobody knows how much is owed between the artist and the listener.

Working-class, Northern lasses?

Is there any hope?

K: No, apparently my dad’s an Arsenal football legend.

E: There’s still so much work to be done, but it’s pretty That must have been a nice revelation.

cool that DIY artists are being found early on and that female acts are being pushed. It’s about time, isn’t it?

@cameronjlwest

20

Bewildered as a first timer, or plagued by their spirit

Fat Dog want to give you the club experience; the live

as a now loyal servant, the response to a Fat Dog live

show is relentless but fun. They thrive on the energy being

performance demands extremes. London’s most chaotic

transferred between themselves and those in front of them,

secret finally have a public offering in debut single ‘King

and they’re unifying a cluster of alternative music loving

of the Slugs’, but it’s their live reputation which has

teenagers who crave sweaty rooms and something to be

provided them with a starving fan base to launch it upon.

a part of. From a safe distance, it’s the commitment we saw with early Fat White’s or ‘Stained’ era HMLTD, but

Having been given the boot from former band Peeping

with alsatian masks and more donk. With Domino Records

Drexels, Joe Love treated the news as the “kick up the

and Producer, James Ford now in tow, somehow we are

arse” he needed to go and start something new. Following

still only at the beginning. The remedy to the post-punk

a chat with Windmill booker, Tim Perry for a show, Joe

hangover has been found, and it’s FAT DOG BABY!

scurried to his bedroom to create a debut set of “mainly filler” and Fat Dog was born. Many of these songs are

What were the shows that you went to as individuals

still played today, but with the support of a now settled

that you think helped inform Fat Dog?

lineup that includes Johnny Hutchinson (Drums), Morgan Wallace (Sax & Keys), Chris Hughes (Keys) and Ben

Chris: My musical influences really don’t have that much

Harris (Bass). It’s with this lineup, and a few now

to do with Fat Dog. The gigs I used to go to were a lot of

departed members, that Fat Dog worked backwards from

like Neil Young and shit. And a lot of bands which are like

a solo electronic beats project to rowdy rock’n’roll for the

‘chin scratching’ music. Where people kinda go “hmmmm

club in full band form.

(scratching chin)”. The thing about that, after a while, I realised I wasn’t that excited by it. I wanted to play that

Split between Sydenham and West Norwood, it’s no

kind of music originally but I got to a point where I was

surprise that Brixton’s Windmill has been pivotal to the

like ‘wait a minute’ I didn’t want people in the crowd

band - from hosting those early solo shows to surviving

to be like “hmmmm yesss, I get it (scratching chin)”, ya

the onslaught of sweat and energy that pours out of Fat

know? I think Fat Dog is the polar opposite of that where

Dog’s now loyal fans. The venue, along with the support

its like people having a really really good time in a crowd

of Lou Smith’s infamous live videos, have helped the

and not worrying about whether it’s good music but

word spread far, wide and fast. Without a single to their

something deep within them that’s enjoyable.

name, Fat Dog found themselves on tour with Viagra Boys, Sports Team and Yard Act - a gauntlet the band have

How about you Joe… With Fat Dog feeling like such a

enjoyed, leaving the comfort zone of their feral, youthful

‘live’ band, is there anyone that really excited you or

following, and trying to win over the adoring fans of more

made you want to play live?

established bands. It’s a feat that appears to have been achieved considering the band have London’s Scala on

Joe: I used to hate playing live to be fair. I used to face the

sale, a venue often used for Album or particularly buzzy

other way. But there’s something about playing your own

EP celebrations.

tunes that makes you feel like your blood’s boiling a bit.

Words by Sam Ford, illustration by Harry Wyld

22

As a fan, did you like going to shows?

We hit really hard and people wanted that, so people who went to those gigs would probably tell people about it. A

J: Yeah. I was never really at the front going mental.

lot of people just wanted to start moving again.

There’s loads of gigs that I’ve been to and thought ‘fuck, Are you seeing the same faces at gigs a lot?

that’s really good’. My first ever gig was the Amazing Snakeheads and was like “shit!” And I was 15 or something. Very good, very raw.

J: Yeah, we know a couple of people. A couple of George’s.

C: He’s a good frontman also.

C: The George’s. There’s four or five George’s. They’re J: Yeah Dale Barclay, Rest In Peace, a mad frontman. Very

always pretty wicked.

scary. You could tell it was his music and he was getting pumped from that. You know, blood boiling.

J: They come down. We played a nice gig in Ipswich the other day, because one of them worked at the venue we’re

C: He’s a good example of someone who was just living it.

playing. We thought no one was going to be there, it’s Ipswich…

J: I’ve seen loads of bands like that. But, ya know, I like content also. I see a lot of bands who are living it but the

C: And he brought like everyone from Ipswich down.

music is a bit mid. Just get some content in there. It’s like a really shit Wes Anderson film. Just gimme a storyline. I

I think in my experience of Fat Dog, and with reference

love Wes Anderson and when he does a good one, he does

to this current desire to move away from post-punk

a good one. ‘Best… Hotel’ is my favourite film but…

etc…

C: Ah yeah, I watched that on a plane once. That was my

J: People just can’t deal with another Squid album. If I

first Wes Anderson film. It helped me focus on not dying.

have to listen to one more…(Laughs)

Someone described it as eating too many weed brownies …It feels like Fat Dog have a genuine response to that

and waking up in a postcard.

without feeling like a spin on the sound.

You’re now playing shows to a very loyal and engaged group of fans, how did that start? Was it about

J: Or just get a drummer in who uses, what is it, a 303.

grabbing all your mates to come or something else?

That’s a big one also. Or just get those custom presets where it plays like a rave chord. Why does everyone have

J: Not really. We never really tried to get anyone down. I

to do that?

suppose my sister, she comes to every single one and she brings her mates. I suppose it does work like that? Ben’s

C: My favourite one is wearing a white vest and a chain.

brought his mates down. You’ve (Chris) got a couple of

Then halfway through the set, taking off the vest. That’s a

mates…

real classic.

C: I’ll tell you what it is. It’s a band that started during

J: We don’t want to sound sour…

lockdown and that’s when no one could do proper gigs. So when people had the opportunity to do stuff and they see

A lot of that music is very dark and lyrically cynical,

Fat Dog, which is a band that’s very very energetic, most

whereas the music you’re making feels more focused

songs being 150-170 bpm, that is such a massive contrast

on fun and making people move. I’d probably say

to the past two years, it was a case of right time, right

that shift has even existed in your shows in the last 18

place.

months since I first saw you perform.

23

Fat Dog

C: Yeah, I don’t think Fat Dog has ever represented that. I

I understand why you’d be wary of it, but I think

think when you don’t have an obvious angle or lyrics that

it’s actually quite special when you start to build an

are clear, a lot of people have a lot of direct angles in their

audience who quite clearly want to be a part of what

music, people are going to ascribe their own feelings to

you’re doing. There aren’t many who achieve that,

it. That’s probably what happens more than anything else.

especially in such a committed way. Fat White Family

It’s club music.

are probably an early example that I can remember and HMLTD had a similar thing in the early days…

J: I thought we were more goofy back in the day.

J: Yeah. I used to go and see them [Fat White Family] all I don’t know, you have choreographed dances from

the time.

Chris and Morgan now…

C: To lick Lias’ nipples?

C: He didn’t know we were doing that until six gigs in.

J: Nah, fuck that. When frontmen used to jump and dive J: It’s goofy. They’re always trying to get me to do this

it used to piss me off. It’s like Mac Demarco - used to

shit and I’m like, nah.

fucking wear, like you’d do the thing with your trousers and flannel shirts. Same thing with Fat Whites with like

I think it’s great to see that a band is having as good a

some camouflage, some jeans and some Adidas Sambas.

time as you are…

Everyone did that for a bit. But wearing a dog mask? I don’t really think we’ve got that much style.

C: We just put LSD in the smoke machines. Everyone C: There’s a lot of cowboy hats, also? We didn’t invent

likes it.

any of this.

J: screaming nightmare…

It would be great to see a few hundred alsatians at Your drummer Johnny has been sporting an Alsatian

Scala though wouldn’t it?

mask for a while. There were a few people in the crowd at The Great Escape wearing those too. Were you

C: We have plans for Scala. We have a little Telegram.

behind that?

Like WhatsApp where you connect fans together and shit.

We have like 160 super fans. They’re all solid people.

J: I don’t even know. We didn’t chuck them out, but I

And for Scala, I thought wouldn’t it be great if we could

think someone at Domino? I don’t really like that thing to

get all these guys to start working out loads, get really

be fair. It’s a bit gimmicky.

fit and healthy, this might sound cult-y, but what if they were all really fit and hench wearing the same outfit that would be awesome. Sounds really cult-y right? Fat Dog

C: Gimpy?

is out here trying to change lives. I’m talking FIT DOG J: Gimpy and gimmicky. I told them not to do it but they

right now. We are trying to get them to wear Toga’s and

just did it.

wrap around shades and just have fat 8 packs, muscles.

Super healthy. Frontline super strong. I think fans want

C: I think we should really fuck things up and get a baby

to be connected to us. It’s really nice that we can have

mask.

conversations outside of music also. I’m always talking to those guys. Its nice to personally connect with people

J: Yeah, just get loads of weird stuff. I don’t like the whole

because to be honest, after gigs, most of us are fucking

dog thing to be fair. Yeah like, “bring your dog down”.

knackered. I know people like the sweaty post gig thing

Not that anyone does bring their dog down.

but realistically we are all just knackered and we can be just too tired to say anything meaningful.

@harry.wyld

24

Talking about this toga thing, I was talking to one guy and

I just wouldn’t say I’m a big Ska man. I think the Ska

they said that once we started talking about getting hench

thing only happened because we were trying to make it

with togas, he’s lost two stone.

very Klezmer-ish and lead up, and I think we got that with the first bit of the track but then it felt like it was just

J: We sound like Coldplay or something…

gonna be like fucking…Madness. I’m glad we’ve made it sound more like some hard donk.

C: Trust me, apple slices only and olive oil from one tree.

C: It’s way donk-ier In a previous interview with us, you’ve mentioned actively becoming less electronic. When the desired

How do you feel about breaking into the world with a 7

outcome is club music, how easy do you find it striking

minute song?

that balance between electronic and traditional guitar band?

J: I think it’s a terrible idea to be fair. I told them let’s not do that, let’s do a two and half minute one.

J: When we recorded it, it’s where it makes the most Why the track ‘King of the Slugs’?

sense. Because, you hear it here (a music venue) and it’s loud and in your face and it feels like that. We tracked loads of stuff in the studio and we’ll listen to it and we’re

C: Get it out the fucking way.

like “this is fucking shit”. It doesn’t translate well, it just sounds like fucking hot mess.

J: People from the thing [Telegram] were saying they wanted it first. I probably would’ve gone with something

C: That’s the thing about doing the live thing, trying to

else but these record label people know more than me.

recreate that is fucking hard.

I think if you’re gonna be ballsy? It was the hardest to record so far. But, to be fair, we’ve only really recorded

It’s my belief that you’ve achieved that with your debut

one song (laughs). I think it’s ballsy, it sounds decent…

single, ‘King of the Slugs’. Did that take a while?

The last thing I wanted to talk about was that you’ve gone from playing a lot of shows to ‘your people’ to

C: Fucking ages.

then going on the road to perform to other bands’ crowds e.g. Sports Team and Viagra Boys. How was

J: I’m still nervous.

that?

C: The thing I really liked about the studio thing is that it gave you the opportunity to think about things that you

J: Sports Team, that was the making of us I think.

don’t do in live shows. You play the set and you don’t have as much time to think about it. Like how the drum

C: Yeah, that was like two weeks and it was one of those

changes in the second part, that sounds fucking sick.

things where our music was different enough where it was like a competition. Some nights we’d be like ‘We won this

J: [Live] You don’t really think about sound too much,

night’.

we just care about energy and holding it. Like we were thinking about the Ska bit and to be fair, James [Ford],

J: Now I think back to it, like I know with Viagra Boys

straight up said ‘I fuckin’ hate that bit’ and I kinda wanted

we lost every time. Insane live band. With Sports Team, I

to say ‘it’s alright?’ and then just thought ‘actually it is

think we won. We are actually really competitive when it

shit’ because I don’t even like Ska. I do like some Ska.

comes to stuff like this.

C: We are in it to win it. And we are gracious losers, just like Djokovic.

25

Fat Dog

J: We go out there to win it but a lot of the time we lose.

C: We played this gig in Norwich, and what ended up happening was that you saw after the intro and stuff, a lot of parents who had brought their sons and daughters out to see Sports Team, and all of a sudden the parents are getting into it and by the end, everyone’s moving in the crowd. That’s the great feeling about playing to strangers.

When you win over strangers, that’s where the feeling of ‘we’ve won’ comes from I think. We are just trying to exhaust strangers so that they dance more for us than they dance for the main band. That’s how you win.

Remember that comment that someone made when we were supporting Viagra Boys that first or second night and they were just like “YOU WERE MEANT TO FLUFF THE CROWD” (laughs).

Joe: That guy really stressed me out, I was really hungover and he was like “You’re walking around with your tiny little pecker”.

@joshwhettingsteel

“Happiness is merely oneness with the void.”

Probably one of the reasons I’m speaking to you right now is that your music has a strong affinity with

Such gloomy aphorisms are par for the bloody course

British Music.

within the gothic, chicken-wire visions of Sydney’s Carnations. Often heard keening about death, channelling

Listening to you I hear Joy Division, the Chameleons,

Horror films, or drawing influence from vintage 80s post-

Siouxsie Sioux… Where does this interest come from in

punk and goth, theirs too is a world paradoxically rich

the band?

with colour and play - of pencil drawings and affable DIY aesthetics. It’s death, but make it cute.

Mac: The only preparation we did before we answered the call was “If they ask what our influences are, what

A self-proclaimed “art and fashion school band” all too

would we say?”. And every single band that got named

conscious of their straying ‘weirdness’ within a music

was British.

scene dominated by punk-rock, what’s most striking about Carnations is the obvious, nurturing admiration each holds

Naomi: Colin Newman and Wire

for the other’s talents. Outside of music, the band share the same art studio in Marrickville for their individual

Mac: Spacemen 3. Cleaners from Venus.

creative pursuits, be it making clothes, paintings or stuffed animals.

Marianna: Shygirl!

Following months of regularly gigging in Sydney, off

Bruno: I learnt to play guitar by learning Johnny Marr

the back of a self-titled debut EP in June, and with work

riffs. I was listening to a lot of Goat Girl, and Porridge

on a full-length debut album already in motion, it seems

Radio. We’d all played in different bands before except

like we’ve caught the band on the cusp of exciting times

Naomi, but there was some implicit thing where we

ahead. Huddled around a laptop, in a flat full of paintings,

wanted to be slightly fruitier and old school.

for their first ever interview, without further ado, meet Mac (bass), Ben (drums), Marianna (synths, vocals),

[A murmur of agreement on “Fruity”]

Bruno (guitar), Naomi (synths, vocals).

Mac: I wouldn’t say that it was intentionally nostalgic.

It’s a breezy 10am. I’ve got coffee, you’ve got beer. It

It’s hard, because in Australia, we have a very nostalgic

looks like we’re ready to go.

music taste. Australia in the 80s is like a massive part of what we all identify with musically. The Go-Betweens.

Mac: We’ve all just finished work Marianna: The Triffids.

Marianna: We all got Indian kebabs beforehand and sat in a park and ate them!

Mac:...The Laughing Clown. Also New Zealand in the 80s, the Dundein stuff. I mean, our music tastes are unavoidably nostalgic.

Words by Elvis Thirlwell, illustration by Jessica Meyrick

32

To get some context on you guys, I listened to some

Ben: We’ve done a few fast songs?

other bands on the Urge label. I listened to Optic Nerve. I listened to Advoids. These bands also have

Bruno: Yeah, but we had that really fast one, “To Die For”

similar influences to you. What is it about the scene in

- which we haven’t released - and we were like, “what if

Sydney at the moment that’s bringing all this together?

we play this at half speed?” And everyone decided they liked it way better. One of the punkiest songs we’ve ever

Marianna: Everyone’s really excited about being together.

written…

For us, we only released this really recently, but we’ve been playing for a year, so the only people that had ever

Marianna: and we sort of just fucked with it!

heard us were this close Sydney scene. And it was really You’ve got another song with ‘die’ in the title!

just word of mouth getting around. I think that all the bands that are playing are making really really good music and are going to see everyone’s gigs, jumping around each

Naomi: I wrote a song called ‘To Die For’, about the Gus

other in a really happy and excited and celebratory…it’s

Van Sant film ‘To Die For’ with Nicole Kidman and Matt

definitely a celebratory mood at the moment.

Dillon, and Joaquin Phoenix. It’s one of my favourite movies so I wrote a song about it.

Mac: We’re kind of a reactionary band. There’s a lot of And you’ve got a song named ‘Videodrome’ as well?

American interest in the Sydney music scene. A lot of bands on the Urge label are associated with - and they wouldn’t like to be called that - the ‘egg-punk’ sound.

Naomi: Another one I wrote about a movie that I like. I’m

They’re a lot of our peers! We, just by chance, have a

trying to not do that so much now…

slightly different sound to that.

Marianna: No It’s good, keep going!

It’s really exciting to hear these influences coming out of Sydney. From a London/UK point of view, a lot

Mac: We all write the songs together as well. There’s not

of the Australian bands we’ve been exposed to most

really any lead songwriters in the group. Usually someone

recently are Melbourne bands like CLAMM or Amyl

comes in with something really rudimentary, and we just

and the Sniffers. It’s exciting to see another thing

jam in practice. That’s also why often the songs, they’re

creeping out of the region that goes against these

all different styles. Especially song to song. It’s been

expectations…

really hard to write a band biography - the first two lines of a band biography are the genre of music that you play…

Mac: There are three major cities on the East Coast.

There’s Brisbane, who have a really crazy music scene

Marianna: …and we have no clue

that’s really against the grain. The Melbourne bands are more traditional punk bands. And then Sydney always

I’ve noticed you sing about death quite a lot! Are you a

ends up kind of being a mesh between the two…Where we

goth band?

fit in, I don’t really know!

Marianna: [laughs] We’re a wannabe goth band! [more murmurs of agreement] Mac: We also love Strawberry Switchblade. And they have Marianna: A lot of people term us ‘weird’.

that thing where they’re goth, but with polka dots…

Naomi: It’s ‘weird but good’

Marianna: it’s death, but also with cute smiles.

Mac: We end on the bill of a lot of more traditional punk bands.

33

Carnations

Mac: Interested in the subject matter, but not interested in

Mac: Bruno and Marianne are our in-house…

it for the pretence of seeming dark and mysterious.

Naomi: They’re musically trained Bruno: you two (points to Naomi and Ben), went to Fashion school, but a lot of us went to Art School. And it’s

Mac: They filter those vague ideas, than everyone can play

sort of that tradition of kids growing up in nice families

the same notes

then going to art school and trying really hard to be goth Marianna: A ‘Sad Garden’ is A Minor!

and starting smoking cigarettes, listening to Siouxsie and the Banshees and trying to seem cool. It’s a rite of passage, but it’s slightly artificial, it’s a bit cultivated.

Bruno: I thought it was B Minor!

I know Wire would write songs with strange musical

What are your ambitions as a band? Any grand

concepts. Like they’d try and write a song using only

dreams?

106 syllables. Have you ever had any ideas when it comes to songwriting?

Marianna: We wanna tour Europe

Mac: We do, in an indirect way. When we’re trying to

Mac: Play overseas

write songs, we try and describe it in a cinematic sense.

We’ve mentioned in practice many times trying to stop

Naomi: Be famous! Buy a mansion!

when people don’t expect you to stop the song - the Wire Mac: I can’t speak for the rest of the band, but I didn’t

thing y’know?

have any ambition musically before I started playing Bruno: The conceptual art thing you’re taking about,

in this band. Since we’ve been doing it, and it’s been

creating a parameter for a song as source of inspiration.

working as a group, I definitely feel a lot more ambitious

We don’t necessarily do that. But we have an idiosyncratic

now than when we started the band. Our ambitions are

way of going about songs. We’ll have the emotions we’re

growing.

trying to get out, and we’ll try and describe it to each other in terms of a narrative. We’ll have Mac be like, “I

Marianna: After that release… suddenly, being slingshot

want this song to sound like a Sad Garden’’ We’ll be like,

around the world really makes your community grow a lot

“how do we make this song sound like a Sad Garden?!”

larger, which is really exciting. And it definitely makes you want to strive to go somewhere with it.

@jessica_meyrick

34

Presents

Grad

2023

We are excited to partner with the Arts University Bournemouth for a fourth year and to select and show off some of 2023’s graduates from the Illustration course.

The work chosen ranges from 3D Animation and stop motion to playful sketches and character design. We caught up with the selected illustrators to get an insight into their work and highlight some of our favourite pieces.

Akilah Chambers – @ackee_art

Caitlin Pearce – @caitlinpearce7

Lillian Tottle – @lillian_tottle

Sydney Stone – @poppiee.s

Annabel Trixi Lawrence – @annietrix_art Dona Stavreva – @donastavreva

Ben Page – @benpagedesign

Neha Viswanath – @nehaillustrates

Jocelyn Rowland – @lemonceleri

Jools Haymonds – @8d_8d_8d_8d_8d

If you’re soundtracking the nightlife of ‘the city that never

I was already a fan of Shanny, she was in a band called

sleeps’, your music should probably feel just as carefree

The Shacks for a while and I just felt like her voice would

and nocturnal - this is something Fcukers don’t need

be good over house music.

to be told. Brought together through previous projects, beloved mutual friends, and a shared love of electronic

You don’t usually see people buddy up to make house

music, Shannon Wise, Jackson Walker Lewis, and Ben

music, a lot of people do it on their own. Even having

Scarf began this project with an understanding of and

a constant vocalist is quite rare, you’re more likely to

appreciation for New York’s ever-changing club scene.

see samples or guest features, do you think your time in

Despite being so heavily influenced by their real-time

bands changed your approach?

experiences of music in modern New York, they turn to house legends of the 90s for guidance and inspiration,

J: 100%. I think the main difference for us is that we come

floating somewhere between classic and contemporary.

from a background of writing songs. When I first started writing house music the number one thing I found difficult

The trio have carved out a place for themselves, an

was structuring the songs. Initially, I’d write with no

endeavour that found them booked to play a CELINE

melody, I’d just make instrumental house tracks, but then

after party in Paris, and subsequently play their third and

I could never finish or structure them because they made

fourth ever live shows in London. Jackson and Ben joined

no sense to me. When I was making ‘Mothers’ though, I

me over Zoom to chat through how the first few steps of

added a temp vocal because I was getting lost again, and

Fcukers came about, the cyclicity of pop culture, and the

after that, it was like the old days - it made sense.

nature of music making.

B: …and we don’t want to be alone in our rooms making Talk me through the beginnings of Fcukers…

music. Having a collective was always important to us, we wanted people to bounce ideas off of, play with, and then

Jackson: Well I was always an indie-rock guy, but towards

go party with after. We also knew we wanted there to be a

the end of Ben and I’s last band, I had started DJing and

live aspect to the music, I’m happy it ended up being a full

was getting booked a lot in New York. I sort of fell in love

live show, seeing three people up on stage is more exciting

with electronic music, and I wanted to try to make the

than just one.

music I was DJing.

With the live drums, was it alien in any way playing a Ben: When we did eventually leave our previous band, I’m

different genre?

glad that the impulse wasn’t to stop playing music, but to start playing different music.

B: The change was that in this group we play to a backing track, so I have a click in my ears, that was a bit of an

J: Ben had been telling me that we should make electronic

adjustment. Even before we had any of the music written,

music, he’s the one who showed me The Chemical

I would spend nights in my studio just playing to a click

Brothers for the first time when I was in college, which

and getting used to that.

kind of changed my life.

Words by Amber Lashley, illustration by REN

40

It’s an ongoing challenge because what’s being asked of

I think another reason why I wanted to make this kind

you is perfection, and you’re never gonna hit perfection,

of music was because people wouldn’t know what I

but the way in which you don’t hit it can push and pull

was playing, but they’d be dancing to it - it’s just good,

the music in an exciting way. There’ll be moments where

infectious dance music.

you’re in the pocket on a track you like and everything’s mixing — and there’s a kick trigger on the drum and every

One of the best things was that Junior Sanchez, who

time you hit the kick trigger the whole room shakes —

remixed both of our songs, reached out to us! He got in

I’ve never felt as big. I’ve never had as much fun on the

touch and said: “I’ve listened to your music and I haven’t

drums as I’ve had on this project. So it’s not alien, we’re

felt this way about something in a long time”. To get the

just working it out.

seal of approval from someone whose records I spin on vinyl was huge for me. I used to not like dance music

From the outside looking in, it seems you’ve considered

because I’d go to a club and it would just feel academic.

Fcukers in a four-dimensional way, it’s about the music

There was an energy of - if you don’t like it then you don’t

but also the visuals and the events around it, for you,

understand it. I think dance music is about dancing, it can

what does this add to the experience?

still be emotional and cool, it just doesn’t need to be so austere and gatekeep-y.

J: Well I work in nightlife, I’m a DJ and I do nightlife programming, so for me, the venue itself is so important.

A lot of people see music as a type of emotional outlet,

I wanted our performances to be a full experience. I

especially lyrically, do you think this genre can be an

remember when I saw Underworld when I was in high

outlet in the same way? Or is it different?

school, it was such an amazing show, and it was so trancey! I didn’t want us to just be a band playing songs, I

B: It doesn’t have to be a full stanza for it to be

wanted it to be something you can get lost in.

emotional, with electronic music there will usually be a few lyrics that go over and over again, but if you can

Pop culture is famously cyclical, things are always

write something that’s true and doesn’t get tired after you

going out of and coming back into fashion, it appears

say it twenty times in a song, then that can lock in what

electronic and dance music is on the up - what’s

you’re really feeling. It’s also an outlet in the sense that

your take on this? Why do you think this might be

as musicians and artists, we need to play music and be on

happening?

stage to feel good, so the whole process is an outlet for us.

B: I think hedonism and partying are in right now, the

I guess even having to take yourself away to learn to

rolling 20s right? For better or worse. There was a

play with a click would be a type of outlet. It seems like

perceived ‘indie sleaze’ revival – that’s what a lot of

that would be quite meditative.

people pinned artists like The Dare as – and then there was a backlash against that, so the question is, what’s

B: Yeah, it gives me a purpose! It gives me something to

next? People want to party, people don’t want indie sleaze

work on and be excited about again. It can make me feel

anymore, so we’re like alright let’s run it back five years

like I’m ten years old practising again, or the same as

to 90s house.

when I was playing sports, it feels like I’m working out or something you know.

J: I agree, I can only speak for New York, but there was definitely a rebirth of clubbing.

41

Fcukers

J: It was the same for me, I had to learn how to produce house music. I would watch tutorials and read about it but I just couldn’t get it to sound good. Then I read a Fatboy Slim article about using what you have and I found an unorthodox way that, so far, has worked for me. I don’t really use anything on the computer, I won’t use the synths or drum machines on the computer. If I need to find a kick or a percussion loop, I’ll go to the record store; if I need a synth sound, it has to come from one of the two hardware synths I have that are analogue. When I was struggling to finish anything, I locked myself in my room and ended up starting ‘Mothers’.When I played it for Shanny and Ben for the first time, we all just had this gut feeling that we were ready to put something out. We actually booked the release show before the track was done! I just needed a deadline.

How small was the window? How long did you give yourself to finish it?

J: A little over a month.

Okay! That’s a lot.

J: It was brutal! There’s a guy called Ivan who coproduces and mixes for us, he’s nocturnal, fully nocturnal — not like a night owl, I’m saying he wakes up at 4pm and he goes to bed at like 8am — so for that month I was just on this wonk schedule where there were nights I’d finish DJing some club at 2am and then go to his apartment until 6am. I remember there was a 48-hour stretch where the two of us didn’t sleep, I was just adamant that it had to be done.

What are the next plans for you guys?

J: Since we’ve come back from the UK it’s sort of like 0-100. We’re going on that run with Jockstrap in October and we want to go back to the UK before the end of the year. The main thing is to finish more music, and when the time is right, it’ll be out.

@drawren

42

The past year bore witness to a phenomenal wave of

Guitar music is very much central to this shift, and the

female artists rising on the scene. There have always been

debates and conversations caused by the controversy

women in guitar music, but the vast amount of talent and

surrounding these acts is integral to exposing and

variety emerging in a relatively short period feels like the

challenging the changes that need to be made within

beginning of a significant movement. It is no coincidence,

the music industry. The issue is, however, that the

however, that this shift has also seen acts being subject

conversation runs the risk of eclipsing the incredibly

to more scrutiny and debate than ever. From The Last

exciting and intriguing array of talent emerging right

Dinner Party to Picture Parlour, it feels like every exciting

now. The sheer variety of music being made by female

female fronted act of late has had their fair share of

fronted bands is a pivotal moment in alternative music

criticism, running risk of overshadowing their well-earned

that is being overlooked due to the systematic issues

acclaim. Even Issue Thirty Six cover stars Wet Leg aren’t

it challenges. From the fantastic and humorous Sailor

safe; despite distancing themselves from industry plant

Honeymoon to the hauntingly ethereal The New Eves,

accusations in the form of multiple Brit and Grammy

even this issue provides a window into the sheer array and

awards, they recently found themselves in the headlines

volume of talent emerging right now.

following a petty personal takedown piece written by member Rhian Teasdale’s ex boyfriend.

Femininity, alongside being a force of resistance within alternative, is integral to understanding the movement that

The reality is that these stories and debates gain so much

these bands belong to. Take one of the acts at the heart of

traction because they signal a very real shift in the music

the controversy; last issue’s cover stars The Last Dinner

industry. Increasingly female and non-binary acts are

Party, as an example. Having performed in venues such as

pushing their way into traditionally male dominated

Brixton’s Windmill, The Finsbury and The George Tavern

spaces, and the subsequent backlash is an insight into the

for over a year prior to the release of their killer debut

insidious toxicity they have been forced to endure.

single ‘Nothing Matters’, they were known as a somewhat open secret among London gig-goers. The immediate buzz and widespread coverage surrounding the track’s release saw the band subject to relentless online scrutiny, with industry plant accusations and critiques being heavily directed towards them.

The band reflected in their interview for issue Forty-Four that they “knew 100% it was gonna happen, but it doesn’t make it hurt that much less. Because… you just don’t believe that women can do it, is essentially what they are saying.”

What these critiques often fail to take into account is just how interesting and monumental the music they are making is. The Last Dinner Party take traditionally feminine elements, from ornate clothing to virgin-suicideinspired visuals and make them central to their identity as a band. The lyrics overtly explore female sexuality in an unruly and wry fashion, using evocative storytelling to communicate the often intangible and complex emotions that come with womanhood. Instead of moulding themselves towards the “acceptable” forms of femininity that women are often made to adhere to in order to succeed in music, they have arrived in the world of rock in an unabashedly and unshakeably female form.

But The Last Dinner Party are not alone. Take a look at recent rising stars The New Eves, who are reigniting the flame of folk through the use of traditional instrumentation and vocal harmonies. Their debut tracks ‘Mother / Original Sin’ are ethereal, spooky, and deeply affecting, seething with feminine resilience.

The New Eves draw upon a long and complex history of women in Folk culture and music, and their performances feel as informed by a long and tempestuous past as a defiant and vehement future. Similarly to The Last Dinner Party, their live shows feel diligently planned, with the band using them as an opportunity to expand upon their elaborate and mysterious world. Taking to the stage in victorian-esque white clothing, often altered to each member’s personal style, they use their instruments in unusual and experimental ways, making each performance a deeply emotional and psychedelic experience. They hold the captivating allure of a band that know something the audience do not, but who are willing to reveal snippets of the truth through stories and riddles.

Words by Eve Boothroyd

44

Storytelling is integral to this movement of female fronted

Online, a community has formed between these acts.

alternative, with increasingly poetic and abstract imagery

When Picture Parlour found themselves subject to heated

used by almost all of the bands discussed. Mary in the

online debate surrounding their NME cover, The Last

Junkyard, for example, intricately trawl through emotion,

Dinner Party jumped to their defence writing that they

using vivid descriptions and enticing imagery. They have

are “the best band I’ve seen in years and deserve every

built up their reputation through a relentless live schedule,

accolade there is.” Acts such as Heartworms have opened

performing their tender and cathartic material multiple

up about the intense personal struggles and sacrifice that

times per week at some of London’s greatest DIY venues.

come with pursuing success in music, as seen in a recent

Their candid and enthusiastic approach to making and

instagram post in which Jojo Orme aka Heartworms

performing music, alongside the magnetic relationship

described how a band’s success is often an indication

seen between the band members, has led to them gaining a

“they worked fucking hard to get to where they are and

cult following despite not having a single release to their

I mean HARD - blood and battle, they have created this

name. Balancing classical elements and abstract strings

world for themselves to deal with things.” The post is

with more recognisably classic indie rock, their music is

a cry of defiance against narratives that these acts are

enthralling and exhilarating. The band even take to the

getting handed opportunities easily, with Orme opening

stage adorned in knitwear, handmade by frontwoman Clari

up with her financial struggles and the importance of a

in her free time, further establishing the centrality of their

“circle of friends I can call family.” The solidarity seen in

friendship and amusement in the group’s identity.

response to the post, with acts including The Last Dinner Party, Nuha Ruby Ra, and Genn leaving comments of

The enjoyment of making art and the centrality of

encouragement, shows that beneath the controversy and

the relationships of these bands is fundamental in

struggles a network of support has begun to form.

understanding them. In fact, in the face of the backlash and criticism many of them have faced, they have come

Meanwhile on twitter Picture Parlour recently shared

together in solidarity despite their often vastly different

a humorous moment with rising Brighton stars Lime

musical styles. Looking at Picture Parlour, for example,

Garden over having members that look alike. There is a

who feature elsewhere in this issue and recently had

warmth and friendship that is integral to the movement,

their fair share of controversy regarding their first NME

a solidarity and desire to encourage one another as each

cover. The lack of female representation in the scene was

act respectively faces the relentless challenges that come

actually what initially drew them together, with guitarist

with being women in music. For Lime Garden, friendship

Risi describing meeting frontwoman Parlour as being “so

is central to the band’s identity. The group entered the

nice to be playing with another woman that really got

pandemic as a close-knit group of friends making music

me.” Being together enabled them to “just be our authentic

together and emerged with a hardcore fanbase.

selves around each other.”

Recent singles such as ‘Nepotism (baby)’ see them translating universal experiences of friendship into critiques of class and social divides. Much like The Last Dinner Party’s ode to teenagerdom in the Virgin Suicide inspired imagery of the ‘Nothing Matters’ music video, or the isolation explored in lyrics such as Mary in the Junkyard’s “I feel like an alien here”, Lime Garden use the track to revisit “the feelings of being a teenager again”, and the relentless desire to fit in. “To be the it girl is to be it” the track confesses, pausing to reflect upon the demands and tribulations endured by girls as they become women.

The movement isn’t isolated to London, although the close-knit community migrating between a handful of core venues makes it easier to notice there. Take a look at English Teacher, a Leeds based band echoing similar sentiments to that of Lime Garden in tracks such as R&B, singing “despite appearances I haven’t got the voice for R&B” as a call out to the racial and gender stereotypes projected onto frontwoman Lily Fontaine. Meanwhile in Dublin M(h)aol have made gender integral to their identity, with tracks such their latest single ‘Period Sex’ directly confronting taboos in a tongue in cheek but defiant fashion. In fact, the punk rooted rise of female talent emerging right now can be seen across the globe.

From the rapid, energetic egg-punk of Snõõper and the grungy lo-fi brilliance of Horsegirl in the US, to the wry, and brilliantly original Sailor Honeymoon in Korea.

But there is something special happening in the UK, a movement imbued with solidarity that inverts femininity and uses it as a tool of empowerment. There is an incredibly vast and alluring array of talent emerging, from the dream-pop of acts such as Oslo Twins to the dark, dance inspired indie of Gretel Hänlyn. There are so many acts emerging right now that it is impossible to discuss or credit them all. Crucially, however, despite all the hubbub and clamour in the foreground, there is a wave of female fronted talent on the horizon, and it feels set to impact alternative music in a real and lasting way.

Words by Eve Boothroyd

46

Whether it’s the surrealist nods to their ambient

It’s really mad. These people weren’t alive when we were

predecessors- be it The Velvet Underground, Pink Floyd

doing it as teenagers the first time round. We met so

or Brian Eno, or the counter-cultural nucleus of Creation

many people who were forming bands, or learning to play

Records (Slowdive, Ride, My Bloody Valentine) of which

an instrument because they’d heard a Slowdive record;

almost all its alumni are still active to this day, something

and they were all down the front, singing their heads

can surely be said for the transcending power of Slowdive

off, buying the t-shirts. We never expected that when we

and their generation-spanning, atmospheric immortality.

reformed. It bodes well really for the new album.

Following on from their highly acclaimed self-titled

It’s exciting. It keeps the old material fresh, and the

reform in 2017, the Shoegaze legends return with their

new material is a leap into the unknown.

fifth studio album ‘Everything Is Alive’, due for release September 1st, on Dead Oceans.

Fresh is definitely the right word; there’s people shouting for both ‘Kisses’ and for ‘When The Sun Hits’. The thing

Right off the back of a series of international sold-out

for us is we didn’t want to be a nostalgia band - a year

shows, we speak to drummer Simon Scott as he breaks

or two ago ‘Souvlaki’ turned thirty years old which is

down the new, the old, and the subliminal spaces in-

crazy! We want to be a contemporary band, and be out

between. Fearless, ground-breaking, and thirty-years-the-

there playing with younger bands- learning from them and

wiser Slowdive are the masters of their own narrative;

continuing to evolve. Strangely that’s worked out for us.

This isn’t revivalism, this is a musical reignition and the time is now.

It’s great to see people in their teens/ twenties down the front enjoying live music, and being in a community of

How are you?

music lovers- not necessarily even that they’ve come to see Slowdive, but the fact there’s a younger generation

I’m not sure after all that travelling you know.

loving live music in the way we did when we were seventeen.

It was a pretty extensive run right?

The internet plays a huge part in all of that too; these It was about two and a half weeks. We’ve done about five

days everyone has access to everything - so that sense

weeks maximum so it was a nice amount of time to go;

of discovery is widened, and encouraged. We’re living

and play enough shows so we were tight. It’s been so long

in a timewarp where everything could in theory be

since we’ve done a tour.

considered contemporary- in my mind Slowdive are. To the generation below me, It makes no difference if the

Have you found with time your audiences are getting

music came out 30 years ago or tomorrow, the access

more diverse? There must be a whole new generation

remains the same.

of kids seeing you live for the first time?

47

Words by Al Mills, illustration by Tess Duffin

The funniest moment I had on this tour was a show

Flying Colours are coming to the UK and playing with one

we played at the Elmore in Sydney. It’s a beautiful old

of my favourite new bands, Deary in September.

art-deco building which they’ve restored- there’s almost 3000 people there, most of which were under thirty which

Going back to what you were saying about new-er

was super cool. A friend of mine came and left just after

bands being inspired by the older generation… the

the encore… spilled out onto the street and overheard

access is infinite, but you still need an incision point.

someone saying “thank fuck we got to see Slowdive

There definitely seems to be a current sense of genuine

before they’re all dead!” That was pretty sobering…

adoration for the 90s. It’s cool you’re part of the new conversation with this upcoming record too.

To suddenly be perceived as a band you need to see before they die, I mean, that’s how we looked at The Velvet

Shoegaze happened for such a short period of time- it

Underground before they reformed. This legendary band

was quite a small scene that was completely crushed by

that’s influenced you to create art. It’s very cool.

Grunge. We were completely written off, which suited us fine. For like a year, Shoegaze was all everybody wanted

The creativity of youth is timeless, but the beauty of

to know about. And then very quickly people got bored,

getting older is life experience.

and started listening to Nirvana and Pearl Jam. Then Britpop came in and Lush had a hit with ‘Single Girl’ and

Exactly. Creating art is about finding your place in the

they transcended.

world. It’s really relevant however old you are.

Because we were this cult-band, who used to support those I do a lot of mastering and work with labels who have

bands… we never really got big. In a weird way over a

young artists and I hear all this amazing stuff. They’re

couple of decades it’s made us a cool band that never

trying to deal with all this information overload which-

really made it. But the music has stood the test of time.

when I was eighteen, you would buy the NME, discover Spaceman 3 and think ‘this is amazing I need to go

What I’ve always loved about Slowdive is your

out and buy it’. Now you can absolutely trawl through

music speaks for itself- it has its own voice. I don’t

everything in a day. The end result is there’s people

think Shoegaze ever went out of trend really... It’s

getting their minds blown- it’s coming out in interesting

emotionally and thematically derivative as opposed

new ways. I really love hearing all this new stuff.

to culturally at times and that’s what allows it to transcend. I think the culture of Shoegaze came after

On this tour we chose new-ish smaller artists to support

the connected feeling which was outsiders relating to a

us and we had our heads blown off. Flying Colours in

mood, or an atmosphere. It certainly spoke to me in my

Melbourne, Dust in Sydney…

early twenties.

I LOVE Dust.

It’s interesting. Locking into a feeling was really important- and the outsider element. It’s funny no one’s

They could be as big as IDLES I think. They’ve got this

ever really said that but we always felt like the kids who

amazing energy like Fugazi.. IDLES.. But then they’ve

were picked last in the sports team. We found our people

got all these wonderful ethereal moments that pull it right

through drinking, and going to gigs… just being music

down to something really dream-pop. And then they smash

nerds and doing our own thing. Coincidentally we signed

your head in with this sudden ferocity. We’d love to play

to Creation and wrote those songs when we were in our

with them again.

late teens, and that period of your life is quite tumultuous.

It makes sense someone would find Slowdive and relate to it.

49

Slowdive

Even though we’re, for want of a better word, middle aged people, we’re still those same people. We still write about those same themes, we’ve just been around a bit longer.

It’s just who we are, and maybe that’s why the new songs are still speaking to people. It opens a window to really feeling emotions; tapping into the stimulation which we’re all being overexposed to right now through media, shit politics.

‘Kisses’ is an escape. While I wouldn’t want to interpret Neil’s lyrics, you could think about it as a moment you fall in love, where your desires come true, or it could have a hidden deeper meaning that might be more subversive and slightly darker. We don’t have lyrics printed on the records, so you can really personally tap into it however you want. It’s nice to have an ambiguity.

There’s a self-indulgence to being a fan. If Nick Cave ever broke down his lyrics I’d be gutted. Having ambiguity is a rare and beautiful thing and I think music is one of those instances where that’s allowed.

You can explore the parameters of that - as you are continuing to do so as a band - but an element of charm is lost when everything’s over-explained.

I agree. There’s an element of privacy in music where it’s like having an intimate relationship with that artist. I had no idea what the Cocteau Twins were singing about but they were my dream world. Books are the same Murakami for example, there’s a vagueness in his writing that I love.

I’ve just finished reading ‘The Wind Up Bird Chronicles’! I did buy it because Patti Smith loves it… but it has honestly completely restructured a big portion of how I view the world. Another example of how inspiration can be passed down between generations.

Completely! Hopefully that’s what we give to people with our records- it’s still evolving, not revealing itself fully, and asking questions. That’s what I want from music.

@te.duf

50

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20.10.23

Brighton quartet The New Eves are a mergence of light

How does it feel to be part of their family?

and dark, garage rock and folk. Four individual artists united in straight-faced play across multiple mediums.

E: It feels really good, we’re really happy that we’re able

Having just signed to Slow Dance Recordings/Broadside

to put out our first single with two labels we admire, it’s

Hacks, the band’s latest single ‘Original Sin’ sings of

still fresh. I saw Broadside Hacks at The Great Escape

mind-control masked as morals, rule makers and their

Festival, and also at the screening of their film ‘The

heroic rule breakers. The stark vocalisations and pounding

Broadside Hack’ that came out last year, it was so good.

drums hypnotise like a spiral-eyed snake, and suddenly they’re on all of your playlists. Trust in me. I spoke

N: We’re in good company.

to the band about folk artistry and technology, and the importance of creative spaces for all ages.

You describe your music as ‘Hag-stone Rock’, are you superstitious at all?

Hello The New Eves, how was the gig last night? You were celebrating the release of your newest single

N: I wouldn’t say we’re superstitious, but we like putting

‘Original Sin’.

meaning into objects or myths.

Nina: It was packed, which was great. It was at The Green

E: I think we’re very inspired by myths. But in relation

Door Store, a really old venue in Brighton, just under the

to that, I think we just really enjoyed the metaphor of the

station. We’re feeling pretty tired today though.

hag-stone, it feels like it represents what we’re doing. We also felt the need to make our own genre.

Was it a late one?

Well, it’s a great name for it. Was there something that Ella: Yeah, we went to a party…

happened that solidified your belief in myths?

N: Which we never do! We play a gig and go home, but

E: Yeah, every show we’ve played.

this time we actually got to go somewhere.

You have a lyric on your song ‘Mother’ which goes ‘The roots I left within you feed the forest of my mind.’

E: We finally got to go to a party!

Is that about how your parents can influence you as a Kate: We did end up taking over the music… At the end I

person?

didn’t even know who’s house we were in, everyone else had gone home and we were all line dancing to Fela Kuti.

K: Yeah, it’s also about how we can impact our parents.

The song was inspired by how that happens on a

Sounds like fun! What else did you play?

biological level, with cells that are transferred back and forth between a foetus and a mother, it helps to protect

E: Lots of funk, and some David Bowie.

against illness and all of that. But, on a wider level than that, it represents the connection we have with our parents;

Well thanks for taking the time to chat. You’ve signed

they teach us things and bring us up, but we also teach

to Slow Dance Recordings alongside Broadside Hacks

them. It goes both ways.

Recordings.

Words by Charlie Brown, illustration by Esme Lower

54

That’s really interesting. You guys met studying

V: I think it’s important to use the mediums of our time in

Literature, what’s the last book you read?

a positive way, and I think the internet can be incredible for reaching a wider audience, and surely that must be a

Violet: I’m reading ‘Just Kids’ by Patti Smith.

good thing. When you think about it, it’s kind of magical, but I suppose you can see it in a different, less positive

K: I’ve just finished reading a Phillip Pullman children’s

way too.

book; ‘Book Of Dust’, and I also recently re-read ‘Woman On The Edge Of Time’ any Marge Piercy, its a very good

E: It can be a really incredible tool, and all of us can

book and everyone should read it.

express ourselves whenever we want, however we want.

You don’t need some fancy person to help you get your

E: ‘One Hundred Years of Solitude’, it was a bit of a tough

music out there anymore. We use the internet to promote

one, the writing is incredible but there’s a lot of suffering.

ourselves, but when it comes to the actual shows and everyone is in the room together, it’s got nothing to do

Thanks for the recommendations. You’ve said

with the technology, we’re all humans having a collective

previously that being in the band is ‘cathartic, and

experience.

a love letter to our childhood selves.’ Do you think adults need spaces to play? To have fun and take risks

N: A lot of people hear about our shows through word of

creatively?

mouth, which I find very exciting.

E: I think everyone regardless of their age needs a space to

K: But I suppose the internet is almost becoming a word

be themselves, with no shame or constraints. I think that’s

of mouth thing, just with lots of ears constantly listening

what we’re trying to promote.

to lots of mouths.

N: The energy you get when you’re a child who plays

E: Ultimately we try to stay slightly separated from it.

and makes games up, we know how incredible that is. We

It’s a work tool for us, after the work’s finished we get to

really miss that when we grow up, but making music - or

close our laptops and run around together.

for other people it is painting or writing - it’s all within that same area of thought and is a similar outlet for

V: After this interview we’re going to dig up potatoes

emotions and feelings. I think what we’re doing as a band

from Nina’s garden and eat them.

is very playful, but also serious in the same way that play was when you’re a kid; it’s life and death. So, yes, is the

I’m having potatoes tonight too, not from my own

answer to your question.

garden though.

Inventions such as the printing press, records, and the

K: We’re very lucky. We need to discuss what we’re

internet gave us new mediums in which stories can be

making, I’m thinking let’s have them with dill and pickles.

told, allowing songs to travel further than before. Do you think technology is positive for folk artistry where

Sounds delicious. In your live sets you do a version of

aural performance and traditions are so important?

‘The Highwayman’ by Alfred Noyes. Is there a song or story you’d like to cover for gigs in the future?

55

The New Eves

Unison: So many!

K: I feel like with the songs we play, even if it’s not so explicit, theres a reference in there to existing stories.

Sometimes that comes naturally from playing music together, and it will make us think of a narrative.

E: The music definitely comes first.

Was that how it worked with the new single? How was it recording ‘Original Sin’?

N: We were in Homeward Recording Company, a tiny little studio in Brighton. Initially, we thought it would be easy but it ended up being so, so hard. We wanted to do as much of it live as possible.

E: Somehow, how simple the song is made it difficult to get exactly right.

Are you happy with the track, now it’s out in the world?

N: I’m really happy with it.

E: We recorded it last summer, so a lot has changed since then, but the recordings feel like a little time capsule from our past selves.

That’s about all the questions from me, is there anything you guys want to let the readers know about?

N: I think something that people should look out for is the zine we’re making, and it’s going to be really really good.

E: We need to speak to our label about that… We all work in a lot of other mediums as well as music; poetry, painting, photography, dance, textiles. The zine will bring all of those together hopefully.

N: All the different windows are opening up.

@esmelower

56

Artists

Josh Whettingsteel Julian Alexander Julie Alex

Sakshi Jain Yihan Sun

Cameron JL West Harry Wyld

Jessica Meyrick

Editors Sam Ford

Josh Whettingsteel

Writers Sam Ford

Reuben Cross Will Macnab

Rhys Buchanan

Natalia Quiros-Edmunds Elvis Thirlwell

Akilah Chambers Lillian Tottle

Caitlin Pearce Sydney Stone

Dona Stavreva

Annabel Trixi Lawrence Ben Page

Neha Viswanath Jocelyn Rowland Jools Haymonds REN Tess Duffin

Amber Lashley

Esme Lower

Al Mills

Cover Photos

Eve Boothroyd Charlie Brown

Printed By Ex Why Zed

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