Spilt Milk Zine: Issue 1 by Spilt Milk

A few months ago I stumbled across a load of old punk fanzines and after reading every copy I could get my hands on decided that they encapsulted everything a music magazine should be. They were full to the brim with honesty, pointed out the best new bands and left behind the bullshit. There’s been a lot of talk of late about how the direction most music editorials are taking in order to survive has left a void in the the landscape for those uninterested in trends and are just after some good new music. I’ve gathered together a bunch of aspiring writers, Illustrators, Photographers and everything inbetween to try and fill that gap. When putting together this issue I’ve tried to make it something I’d want to read, packed full of talented acts from those recording in their bedrooms to those that have recently broke through. We aren’t here to tell you who or what to like, just showcase an array of music that caught our attention and pass on our findings.... Enjoy.

In This Issue:

Page 3: The Original Scallywag Page 6: The Lemon Twigs Page 7: This Feeling Page 8: Introducing: Honey Moon Page 10: The Moonlandingz Page 14: HMLTD Page 15: Ad Edwards (Adrenaline Animals) Page 18: Bands on Film Page20: Paul Orwell

THE ORIGINAL SCALLYWAG ON THE COVER

ere’s one musician who’s truly keeping the DIY spirit alive. His debut single ‘Death on Day One’ is a burgeoning declaration of the return of real, raw rock’n’roll. The single boasts all that is original, unpolished, and downright dirty – and that’s why we can’t get enough. Consequently, Spilt Milk has cast him as our first cover artist for the DIY issue.

piss and shouting “Original Scallywag” at me constantly afterwards. Unfortunately, he’s not longer with us, so I guess the name is sort of in honour of his memory. I still think that tune’s fucking good though! What brought you to the big City?

Photography by Francesca Blakeburn

‘Death on Day One’ pounds straight into your eardrums as soon as it starts. Reminiscent of Arctic Monkeys back in their Brian-storming days, the chaotic intro is immediately addictive. Scallywag’s spicy vocal follows, creating a drunken slur of a verse that makes the thought of cracking open a nice cold tinny that much more tempting. Suddenly, we are swerved into an unexpected groove as a plethora of ear worming hooks aurally attack us. A low dirge of bass then boomerangs us back to the Scallywag’s gritty, boyish vocal as the chorus kicks in. The song’s production is incessantly simple; the bedroom rock’n’roll delivery is what gives ‘Death on Day One’ its ragged charm. Lo-fi recording combined with Skinner’s aloof, roguish attitude make this track a DIY success.

black leather jacket and winkle-pickers. After about ten minutes, he realises that I haven’t ordered myself a drink yet, so I regretfully explain that I am completely skint. To my surprise, he whips out his wallet and buys me a beer, telling me not to worry. What a nice gesture from this rowdy bloke who’s shouting boyish quips at the barmaid. I notice that he has a huge tattoo on his neck of a woman; I ask who she is and he says, “I don’t know, some bird”, and then proceeds to show me the ’17 London’ tattoo that he did himself with his home-tattoo kit. After a few swigs of Carlsberg, I get stuck in and try and find out just what this kid is about.

He goes by the alias of The Original Scallywag to his fans, Piff Spice to his friends, and Jacob Skinner to all those in between. So who really is The Original Scallywag? I caught up with him in a dingy pub in Camden Town to try and find out. My efforts to scramble through the hoards of tourists occupying the streets make me about ten minutes late. I arrive, and The Original Scallywag is sat “chatting shit at the bar again”, in a

Piff: There’s actually a more sentimental story behind the name. I moved to London to start a band with my mates and we had this tune called Scallywag that we thought was fucking amazing, but everyone else thought it was pretty bad. We met a guy who joined the band - he started singing and playing guitar for us. We were like, “yeah let’s play him the tune we’ve got, he’ll love it”, but actually it turned out that he thought it was absolutely awful. He just kept taking the

Why did you decide to call yourself The Original Scallywag?

Piff: I moved to London because I wanted to do music, I felt like I needed to move because I came from a boring, shit place, and everyone knows you’ve got more of a chance at making it if you move here. Why do you think Spilt Milk decided to cast you as the DIY cover artist of the first issue? Piff: Because I’m a bad boy. As we’re in Camden, it seems obvious to ask whether or not you think this place still has the same musical importance that its known for? Piff: Pfffff… Camden’s pretty much dead already, but I think there are about ten people who are still rock ‘n’ roll. Unless something happens soon it’s going to be gone forever, Camden’s legacy will vanish. It’s all tourists – Camden wasn’t meant to be for tourists, it was for rock ‘n’ roll. To be honest, Camden is still one of the only places I hang out because it’s the only place left with a little bit of coolness, but with all the offices and expensive houses they’re building, comes the yuppies. I avoid yuppies at all costs.

What is the story behind ‘Death on Day One’? Piff: Monotony. I just think it’s sad seeing that the norm in life is day-to-day bullshit that no one actually cares about. It seems pointless. The song is basically about everyone that you see walking around with nothing else to live for in their lives apart from their office jobs and their monthly pay cheque; it’s like, I think to myself I’d hate to be you. I mean, what’s the point in being alive? These people, it’s the same shit every day. A chase for money. Have you got anything else in store for us? Piff: There’s a new tune out in February. I don’t have a fucking clue what it’s going to be but, know, it’s coming. Also get ready for the video for ‘Death on Day One’, coming soon to screens near you. What do you do for fun apart from Scallywaggin’ around? Piff: I get fucked up, do construction work for dolla. Write some tunes, and have a studio set up in my bedroom so that I can do it all myself.

Do you think it’s important to have the freedom to record by yourself? Piff: Yeah, because no one can afford to record anything without their own equipment these days. Never trust anyone who goes to a proper studio, because you’ll know that something isn’t right there, daddy’s probably paying for it or something bleak like that.

“I get fucked up, do construction work for dolla. Write some tunes, and have a studio set up in my bedroom so that I can do it all myself.” - Piff Spice

Why is that ‘bleak’? Piff: Everyone’s too shy to do anything themselves these days. You’ll meet people and they’re too timid and shy, but on Facebook they can talk for days about all of their antics. People just aren’t interested anymore, they’re too selfish. Living in London today, it seems as though the once visceral do-it-yourself ethos has dissipated into a modern way with bands preferring to go at it safely. Walking back through Camden after our chat, countless cranes invade the grey skies; the obvious gentrification seems to be threatening the authenticity of what was once known as the definitive capital of subculture. But when artists reject mundane conformity to convention, they stand for the fact that the DIY attitude can’t be beaten. The Original Scallywag’s ‘Death on Day One’ is a definitive DIY triumph. Interview by Alicia Carpenter

The Lemon Twigs: Do Hollywood

Alicia Carpenter

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Although the influences are what might attract first-time listeners to Do Hollywood, The Lemon Twigs are bringing some fresh zest to the table. Tracks such as ‘’Baby, Baby’, ‘How Lucky Am I?’ and ‘Frank’ boast velveteen guitars and doowop drum beats, and the boys add their own authentically pining vocals and fuzzing synthesizers in order to create a novelty sound. Even Elton John declared his excitement for The Lemon Twigs by predicting “a bright future” for the Long Island lads. The Lemon Twigs definitely take inspiration from an iconic musical era, but what’s important is that they sculpted a vision into their sound. Do Hollywood rejuvenates today’s electronic age every time you put it on.

: g n i l e e F s i h T

ll o R ’ n k c o R f o s r u o i Sav

It’s been said that the live music scene has been dwindling for some years now, with it becoming increasingly difficult for small venues to stay open. But thanks to the likes of This Feeling there’s hope for the most promising new bands in the country to gain a platform to be noticed. Starting 10 years ago as a club night for friends, This Feeling has grown into a national phenomenon, shining a beacon of hope for the scene. The success can be put down to a number of things but perhaps the most important is their simple equation for a good night... Good music + Good people = Good Zone. And this really is what their nights entail. A few members of our team are regulars at the events and echo Carl Barat in saying “If you’re going to see the emergence of a new great band you’ll see them at This Feeling first.”. Another key to the success of This Feeling is the sense of community that it has created. Something that can be lacking in the music industry as competition increases. By offering bands regular appearances they help them network with other bands with many of them forming friendships and supporting each other at shows both on stage and in the audience. There is also a hugely welcoming atmosphere there so anyone with a taste for good music will instantly feel welcome.

DIY GIGS Have you ever caught yourself

thinking ‘Nothing ever happens round here’?

DIY gigs are nothing new, famously held by bands such as

The Libertines, they can happen pretty much anywhere and

have a uniquely intimate atmosphere. we are calling on you to stop your moaning and get

off your arse and revive your local music scene.

Here’s 3

steps s to help you on your way:

1. Find the Perfect Venue 2. Host Local Bands 3. Bring your Mates Along We’ll Support you: Send us

pictures of your DIY gigs and

we’ll feature you in our magazine and look for ways we can help you grow.

Honey Moon, a four piece from London, combine dreamy, pop riffs and harmonies with a relaxed, laid back sounding psychedelic sound. The name accurately sums them up, with ‘Honey’ describing the sweet melodies, combined with ‘Moon’, hinting at the underlying psych vibe. On their latest release, ‘Best In Town/ Summer Days’, released via Sad Club Records, the band showcase their diverse styles. ‘Best In Town’ is an upbeat surf rock song with crooning vocal harmonies The Beach Boys would be proud of, whilst ‘Summer Days’ is a 6 minute psychedelic dream with hazy guitar riffs, stacked with intertwining vocal parts. Yet with two such different songs, Honey Moon’s sound is crystal clear. In November 2016, the band embarked on a countrywide tour, hitting stops like Bristol, Newcastle and Manchester, in support of Laurel, further spreading their euphoric sound around the country. Honey Moon have also joined in the revival of vinyl, releasing their ‘Honey Moon’ EP on limited edition 10” Vinyl via Big Cartel, where the band also sell handprinted t-shirts. In November, their ‘Best In Town/ Summer Days’ release was also one of the five 7” singles featured in Flying Vinyl’s monthly box, which promotes the best new indie acts. With crooning vocals, jangly guitars and lazy summer day vibes, Honey Moon create a sound that show their influences, but manage to make the sound all their own. Honey Moon is one to watch in the world of indie rock. By James Davidson

Cabbage ‘Uber Capitalist Death Trade’ When you’re named after most peoples least favorite greens you’d might be rightly skeptical about the sonic talents of this Mancunian quintet. Press play on “Uber Capitalist Death Trade” however and those doubts will soon vanish. An unapologetic assault of distorted guitars, bass and drums launch you out the intro and dump you straight into front man Lee Broadbent’s raucous tongue in cheek political vocal punches. Powerful northern indie-punk for the 21st century. By Alex Cardwell Our Girl ‘Normally’ Our Girl, a Brighton based trio comprised of Soph Nathan of The Big Moon, Lauren Wilson and Josh Tyler, create a sound of grungy guitars and thundering drums mixed with gloom laden lyrics, a sound so beautifully demonstrated on their debut EP ‘Normally’, released in November 2016 via Cannibal Hymns. Mixed in with the crashing sound that the band makes are twinkling, chorus driven chords and riffs, blending perfectly with the haunting words that sing of emotional distance, best shown on tracks ‘Being Around’ and ‘Two Life’. By James Davidson 9

Track Review:‘Vessels’ The Moonlandingz hit earth with a comet of a debut, Interplanetary Class Classics. Opening track, ‘Vessels’, shuttles us off into a cosmic, multi-dimensional experience. The Moonlandingz were previously a semi-fictional collaboration group between Fat White Family’s Saul and Lias, and Sheffield’s electric enthusiasts Eccentronic Research Council. ‘Vessels’ introduces us to the band’s first release as a fully realized entity. Reminiscent of Gravest Hits-era Cramps - jitterbugging vocals and spooky synths - ‘Vessels’ is psychobilly in influence. But as Saoudi menacingly slurs he’s “got nothing to hide”, the subject matter shouts innovation and we rocket off into strictly Moonlandingz territory. By Alicia Carpenter

Live Review: Thekla, Bristol (02.04,17) It’s by no means out of place to say these are one of the best live acts you will see at the moment. I don’t think the residents of Bristol would be able to comprehend the choas that was crammed into the unassuming boat. With a live show full of strange sounds, passionate performances, intellect and wit, you’d be daft to miss this band if you get the chance. The highlight was the live performance of my personal favourite tune, ‘The Strangle of Anna’, and the encore was like none that I’ve ever witnessed. Tall Tales from the Urinals

Full of Enthusiasm and what he described as ‘the best rocket fuel South Wales has to offer’ we were approached by a lad who said he’d caught up with Lias before the gig. For those worried that Saul won’t be involved in the next Fat White album due to commitments with his new band Insecure Men, we’ve been assured that he is involved with the writing and recording, but might not be present at the Fat White’s live appearances.

Sam Hollis & The Glow In The Dark Lizards We’ve been watching Sam Hollis for a while now and seen him evolve from Acoustic covers on Facebook to fronting his own band. This evolution however has somehow maintained his raw and unique sound which we’ve struggled to pin down. ALthough in their early stages, Sam and his Glow in the Dark Lizards have brought out their first EP and it’s a cracker. Our stand out tune is the opening track’ ‘Leapord Print Violet Heart’which is packed full of Sam’s unique vocals, spacey guitar effects and lyrics which find the romance in the smallest details. Do yourself a favour and listen to it.

In a Band? Want to be featured? We listen to all the music we are sent and handpick the ones we like the best. If you want to get your music featured in our magazine or on our site just send your music to Spiltmilkmag@outlook.com. 12

e] Beau Brummel[Patrick Balf

ble across If you’re hoping to stum l you’ll the sounds of Beau Brumme beaten need to wander from the e world of track and dig beneath th d high end polished music videos an , his muproduction. A DIY master wness that sic brings together a ra truly enmost acts have lost and tersweet’. capsulates the term ‘bit music for Having not released new be lima number of years you’ll e of DIY ited to his back catalogu eat they recordings, but what a tr the eerie are. Shining a light on holding a side of romantisism and in doing mirror up to himself (and e same), so prompting you to do th confront many of his songs look to tribulahis personal trials and d the muntions. Making the dark an dies grab dane beautiful, his melo t go. We hold of you and don’t le hed chewhope when the worlds finis back out ing him up, it spits him more of his so he can bless us with music.

Dead Pretties ‘Social Experiment’ The Dead Pretties’ brazen debut single, ‘Social Experiment’, caused a storm in the London scene. They first caught my ear at a warehouse party in Tottenham a few months ago, and ever since I was (im)patiently waiting for their debut release. Their talent for channelling youthful discontentment into chaotic, fiery belters is known by anyone who’s been lucky enough to catch them live. ‘Social Experiment’ is a testament to delivering music on your own terms – these boys are not afraid to expose that “all the girls and the guys go to parties in disguise”. The track brandishes against people limiting their own self-expression just to ‘fit in’. By Alicia Carpenter

Introducing: Goat Girl Goat Girl bring their nonchalant detestation for issues facing modern society to their melancholic Indie music. Reminiscent of Courtney Barnett, they are touring this summer to promote their latest releases ‘Scum’ and ‘Country Sleaze’. ‘Country Sleaze’ is a haunting, warped country groove, shuffling lazily under the twang of questionably pitched guitars, accompanied by brooding monotone vocals. ”Scum” is a short and dark journey that is both enticing and uneasy in all the right ways. Goat Girl will be playing at The Great Escape in Brighton Thursday 18th - Saturday 20th May and Lattitude Thursday 13th - Sunday 16th July. By Lucy May Ireland 13

Formerly ‘Happy Meal LTD’, HMLTD are a sado-glam artpop collective who stand for hyper-individualism and ooze the original 70’s punk ethic. Looking to challenge their audience, hoping to create anything but an ambivilent reaction, HMLTD are crafting a new parrallel world in our currently bleak landscape. This atmospheric sculpting is seen through not only their music but their visual art, that is, their videos and live performances. Their videos are inhabited by pirates, clowns and dictators with a taste for S&M. Their gigs don’t stray too far from this with HMLTD bringing their strange visual world to life transforming the venue into B-movie horror shows or an indoor Mount Olympus complete with cotton-wool clouds and cherub dolls. Their gigs engage all the senses and not unlike David Bowie bring the world of glam and theatre crashing into the real world.

In just three singles - ‘Is this what you wanted?’, ‘Stained’ and ‘To the door’ - HMLTD have began to build their own inclusive cult following. Their music, along with their style, is a point towards a wider movement. Leading by example, HMLTD look to rebel against categorisation and “create something beautiful... That doesn’t necassarily fall within the standard confines of what you might call beauty”. Innovative, interesting and coined as “gorgeously gruesome”. HMLTD are paving the way for for those who feel shunned by this world and welcoming them to join their new one.

HMLTD

Text By Joe Sansom

With: In Conversation

s Ad alEindewaAnrimd als) (Adren

Q. You post a lot of raw acoustic versions of songs online, do all your songs start their early life on the acoustic?

I met Ad for the first time up in North London at one of his solo Ad: Yes pretty much all gigs. We shared a couof my songs are startple of cans from the ed on acoustic guitar. beer fridge backstage 1 or 2 are written on and talked about our my electric guitar but influences and music yes mainly acoustic. I in general before he think that any great was rushed up on stage song can be played to perform his set. stripped back on acousThere’s being pastic and still come sionate about music across just as powerful and then there’s Ad. as it does with a full And this raw, natural band. enthusiasm explodes through his music and Q. Your songs are very his highly energetobservational and honic performances. Songs est, do you think this such as ‘This is Enis important in a song? gland’ are packed full of personal experiencAd: Yes definitely I es, gritty observations feel that the more honand strange characters. est the song is the We spoke to him about more honest it comes how he turned these across and the listenstories of everyday ers are much more likepeople into high energy ly to relate to the punk anthems with his songs. Generally my band Adrenaline Anisongs are written about mals. real life circumstances particularly about Q. What comes first, the things that I relate to lyrics or the melody? or about someone close to me. Ad: To be honest it depends as I tend to Q. When looking for inwrite lyrics on the spiration where is the train and then add the first place you look? music but when I’m at home on my guitar I Ad: I definitely love to write the music then use metaphors and aladd the lyrics so it literation in my lyrvaries. ics. I also have a book with old sayings like ‘every dog has his

day’, and the origins of where an old saying comes from which sparks an idea. I also write a lot of songs when I’m back in Wales at my grandma’s house. It’s almost like I take everything I see in London home, and then let it out for a few days when visiting my family. I recently went home for Xmas and wrote 6 songs in a week. They’re all sounding big! Q. Why is it important to play intimate acoustic gigs? Ad: It’s important because it’s good to try out new material and I find it good for confidence building. I much prefer the bigger stages with more people there obviously but always good to play intimate gigs as you can see and feel the reaction of the audience when trying out new songs. Q. Do you use this to help you develop your songs? Ad: Yeah exactly that mate the audiences reactions tell me what parts of the songs work and what doesn’t.

Q. You have a new band, tell me a bit about ‘Adrenaline Animals’? Who are the members?

d elecThen we layere guitric distorted top and tars over the isttook out the ex Ad: Adrenaline Anistic layers. mals was founded by me ing acou started to and my mate Alex Combe Then it we put sound big! Then who played in my predrums down the real vious band Laburnum. e song and re-built th We had to change the ars and with more guit band name from Laburbass re-layered the num because there was the voand then added a band called Laburput an cals! We also num in the US trying hone in ambient microp to sue us for the name and the room and me so we just decided to te Simon Alex and my ma change it completely. chantwho plays bass Our full line up will chorus together e th ed our on d unce anno be g vofor the backin page soon. pretty cals. That was much it mate. Q. Your first release was ‘This Is England’. ent Q. Is it differ Tell us a bit more band? writing with a about how the song oach How do you appr came about. new material?

Ad: ‘This Is England’ was written when I was 14 actually and was about when I overdosed on ecstasy. It’s a timeless song as it’s only just been released 13 years later haha.

Q. And how was it reviving an old acoustic song and putting a band behind it? What was the process? Ad: That’s a good question. I fracked the acoustic guitar to a click track and then layered midi drums over it. Then added some bass guitar.

Then the drummer will lock in with the bass. It’s pretty easy really we have a formula and it works well. Q. The end result is great, I feel like the band give the songs a new energy. What’s in store for Adrenaline Animals now? More gigs? Ad: Thanks a lot mate. We’re trying to keep that energy, that adrenaline, that buzz that makes you feel like an animal! Ad has a load of gigs lined up that will be announced on their website very soon.

By Joe Sansom

come in Ad: I normally om with to rehearsal ro rucmy ideas and st will tures and Alex ar it pick up the gu t trychords and star eas. ing out new id

All Cut Up...

mself, r than David Bowie hi he ot ne no by ed us e qu spapers A song writing techni your own poems, new m fro t en nt co ke ta to k ‘cut ups’ allow you tween ideas and spar be ps hi ns io lat re d ar awkw , recyand books and create words, re-order them d an s ce en nt se ke Ta y n. onscious provides. Tr your own imaginatio bc su ur yo ts ep nc co t strange nique cle them and see wha up with using the tech e m co u yo ng so or em it out and send us a po r next issue. ou in and we’ll feature it

BANDS ON FILM. With camera phones at gigs, photos of bands are everywhere these days. But photographer Nina has gone back to basics with her “shitty camera” to capture London’s underground music scene. Capturing the gritty reality of live music, she makes you wish you were a body in the crowd. Make sure you keep up to date with her work by following her on instagram @bandsonfilm. 18

The Garage Flowers There are a number of bands at the centre of Camden’s rock’n’roll revival and The Garage Flowers are a significant player. Big hair and even bigger ambitions, these four lads are building a lot of momentum in the capital through their chaotic gigs and ‘dirty-sweet drunken guitar pop anthems’. Having taken inspiration from some of the greats (Manic Street Preachers, David Bowie, The La’s, Velvet Underground, The Smiths, Hanoi Rocks, Infant Sorrow, Rolling Stones, Blondie etc) this four peice turn nostalgic feelings into reality with their songs that you can’t help but want to get drunk and shout along to with your arm around your best friend. Their debut single ‘Miss Maggie May’ encapsulates them as a band and is well worth a listen, but to get the most out of this band you need to get yourself down to one of their gigs and join in the chaos... after all, that’s what it’s all about.

Thomas Haywood

‘The Ballad of Johnny Dream’

We know very little about Thomas Haywood, but one thing we do know is that his soundcloud is home to an array of great tracks. His track ‘The Ballad of Johnny Dream’ is simultaneously haunting yet comforting. The beautiful adaptation of an unreleased John Lennon track ‘Now and Then’ combines acoustic guitars and ghostly vocals to create an eerie sense of slipping out of conciousness and into a dream state. ‘Death of a Narcissist’ is another of his songs which captures his eerie vocals but from a slightly different perspective: it still echoes, but with a heightened energy that delivers the poetic lyrics. Raw, real and moving. We’ve spent many an hour working on this issue with his songs playing on repeat. Go and see for yourself.

The king Of 1960’s Beat tells us the songs that made him. The Beatles - Tomorrow Never Knows I can pretty much pick every Beatle track for this list! It just sparks something so amazing in music, and has still never ever been beaten! In my opinion the best song ever laid down, and equally the most important. There The Zombies - She’s Not some of The Animals This one track as well as when I was writing BYMA. tracks played a big part best. Great British beat at its

David Bowie - Rebel Rebel Mr Bowie has always been a massive influence on me, from creating characters and thinking outside the box. Rebel Rebel is just one of many that really hits all the right notes. Jimi Hendrix - Purple Haze The track as well as Jimi just screams coolness, a timeless track that lets everyone know the man means business. The sound of the guitars from start to finish blow the roof off. Pink Floyd/Syd Barrett - See Emily Play Syd Barrett, what can I say about him? A complete one off. He showed musicians it was okay to be strange. This track is a masterpiece of work.

T Rex - Children Of The Revolution Marc Bolan’s voice, heavy guitars mixed with strings, all the right ingredients that made some of that Glam so fantastic. Magical lyrics.. Dig! The Small Faces - Lazy Sunday The local lads full of charm and class! I could have this one track on repeat & I would not go insane.The “don’t give a shit” attitude is so important in music. 20

Lou Reed - Vicious One of those tracks catchy and vibey. I love it to bits… along with the Velvets Rock n Roll. Simple but yet infectious.

PLAY THIS MUSIC LOUD 21

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