Issue Fifty-One
Also inside: Pem Orlando Weeks Gut Health DEADLETTER Sex Week julie Most Things LICE Tooth MJ Lenderman
richie-culver.com Lulu Lin @ da__h_
So Young Issue Fifty-One finds us in the centre of festival season, a time where we can often enjoy many of our favourites, old and new, in one field, in one weekend. With less gigs and people jetting around, the summer can often present a lull in brand new artists emerging, but that’s not the case for 2024 and this issue is evidence of that. Here’s what’s inside. On the cover, Wunderhorse are preparing themselves for the release of their second album, ‘Midas’. Since we last spoke, the dynamic has shifted from Jacob Slater’s solo project to a cohesive and collaborative band. The impact of that is, well, ‘Midas’. An unapologetic, raw, rock record which relishes it’s edges and has no intention of conforming to trends. Sat avoiding the rain with the whole band in London, we discuss learning from the likes of Pixies and Fontaines D.C. on tour, recording in the same room as Nirvana and cutting the bullshit. September will see the release of the debut album from Londonvia-Yorkshire’s DEADLETTER. ‘Hysterical Strength’ marks the bands latest peak in a four year career as guitar music underdogs. No ‘buzzy’ moment in sight, just ‘one step in front of the other’ growth. You only have to take a look at the bands ongoing, gruelling tour schedule to understand that DEADLETTER are a live band, and this record captures that energy - pairing their honest observations of the world with danceable post-punk. We chat inside. Shoegaze, used rightly, wrongly, readily, has felt some serious growth as a genre over the last few years and LA’s julie are one of the most exciting and innovative new artists to be born from the sound. Now signed to Atlantic and preparing their debut album for release, we gave them a call whilst in Ohio for their tour with Faye Webster to talk through their move from Orange County to LA, the influence of their new community and the impact of other art mediums on their music. Bristol favourites and longtime friends, LICE have a new album on the way via new label partner, AD 93. In an interview that leads our writer to question his everyday existence, we discuss ‘Third Time At The Beach’ with frontman Alastair Shuttleworth. Now in Lisbon, the full time home for his art studio, Orlando Weeks’ creativity is not limited to his music but he does have a new album out.
Titled ‘LOJA’, after the local name given to his studio space, Orlando delivers a positive record which explores all that he left behind in London. We gave him a call to dig into the breaking of old habits and how music and visual arts elevate each other when paired. It seems there’s barely a moment where Jake Lenderman isn’t on the road. Be it touring worldwide with Wednesday on guitar, or taking the music of his project MJ Lenderman to an ever growing audience. It’s the latter music that we discuss on the phone as new album ‘Manning Fireworks’ is on its way. As always, it’s with great excitement that we present some brand new artists to our pages. We start with London duo, Most Things. With just one video up on YouTube (‘Shops’), it’s very early days but with a full live schedule coming up and, we’re told, plenty of music ready to go, we were enthused to find out what we could at this point. Another new band from the capital with only a YouTube presence to their name are Tooth. Impressed by their youthful energy and 00’s indie spirit when performing at one of our We Are So Young nights, we followed up with a call to see what’s going on behind the scenes. Staying in London but via Bristol, we find Pem. Her new EP ‘cloud work’ was recently released via Ali Chant’s Fascination Street label and is a beautiful listen. Eager to know more about where these songs came from and what’s coming next, we gave Emily a call. Finishing off overseas, Sex Week are an exciting new duo from NYC. Sitting somewhere between the dark and light of bar italia and Chanel Beads, there’s an atmosphere in the pair’s music that feels haunting yet comforting. We gave them a ring to find out the story to date. And finally, Melbourne’s Gut Health have a debut album (‘Stiletto’) on its way. Catching them at the back end of a EU tour, we cased them on the themes of the record and their translation of their live shows to the studio sound. We chat to Lulu Lin, the artist behind the striking new Fontaines D.C. album campaign and announce our collaborative t-shirt. Cork based photographer, Emilyn Cardona has given us a window into the world of Irish band Cardinals over the last year or so. We spoke to Emilyn about her aspirations and career so far. The GradList returns as we partner with Arts University Bournemouth once again to showcase some of their most talented new graduates.
3 Pem Gulls
41 LICE Third Time At The Beach
9 Most Things Just bass and drums
45 Emilyn Cardona Seize the Moment
15 Orlando Weeks Store
47 DEADLETTER I’m a Realist
22 Sex Week Toad and Boo
51 julie my anti-aircraft friend
25 Lulu Lin Spontaneous Expression
55 Gut Health Stiletto
29 Wunderhorse Raw Expression
62 Tooth Age of Innocence
37 GradList 2024 AUB Illustration
65 MJ Lenderman Wind, birds and ghosts
Thomas Spooner Photo by Quin Cunningham
Having drawn as a child as an escape and to lift her spirits,
Through my art, I aim to capture the elusive and often
Taiwanese artist Lulu Lin went on to gain her Batchelor’s
unclear emotions that exist in reality. I also seek to
degree in industrial design at Shih Chien University,
connect and communicate with others through various
Taiwan before doing her Master’s in communication
design and creative forms, striving to bridge our
design at Designskolen Kolding, Denmark. During this
experiences in a meaningful way.
time Lulu Lin officially launched her illustration career. What are you currently working on? “During my one-year exchange at Köln International School of Design in Germany, I had the free time to fully
A collaboration project with a local shoe design
embrace drawing as a hobby, which led me to share my
studio(chenjingkaioffice), in which I translate my
work online. However, it took another 3-4 years before I
illustrations into 3D models, and later turn them into shoe
began taking on commissioned illustrations.”
soles and metal accessories for shoes, some ceramics for my solo show in Tokyo in September, a book, Tokyo Art
Here at So Young, we’ve been following Lulu’s work for
Market in October, and some commissioned illustration
a while. Scottish band Walt Disco have effectively used
projects.
her pieces across singles and album art. Most recently Fontaines D.C. have licensed a series of Lulu’s work for
I’ve recently seen you recreating some of your pieces in
use throughout their new ‘Romance’ album campaign.
physical form, how has that worked?
Producing visuals which are set to become just as iconic as the album itself.
I draw on the knowledge I gained from my industrial design studies and the support of my friends to create.
Having just released a collaborative t-shirt with Lulu we
Two years ago, a friend taught me how to work with clay,
thought there was no better time to dig a little deeper and
and since then, I’ve enjoyed experimenting with it once a
find out about influences and the process involved in her
year.
amazing work. Tell us about a typical working day How do you go about starting a piece of work? Does it start as a pencil drawing? What is your process?
A typical working day for me begins with making a fresh cup of coffee to energise myself for the day ahead.
I draw when I feel confused about what I’m feeling or
Afterward, I take some time to clean the house, ensuring
when I’m eager to vent out my emotions.
my space is tidy and inviting. Next, I take care of my
I usually work on my iPad, beginning with a simple, crisp
plants. I then fit in a workout or some form of exercise to
outline (the foundation of my vision). From there, shades
keep my body active and healthy. Following my workout,
and colours flow naturally, arriving as they wish, adding
I dive into my work, focusing on my tasks and projects.
depth and intensity to the initial sketch.
As the day progresses, I take a break to cook, allowing me
Each layer becomes a spontaneous expression, allowing
to refuel and recharge. After finishing my meal, I continue
the artwork to evolve organically.
with my work until the day winds down.
The creative process serves as a therapeutic outlet for me, allowing a dialogue with my inner self. I view my illustrations as a way to communicate with myself. 25
Words by Josh Whettingsteel
Lulu Lin @ da__h_
You’ve previously worked with bands like Walt Disco
Each of these artists brings a unique perspective and
and more recently Fontaines D.C. What has the process
creativity that I truly appreciate.
been like with the new Fontaines D.C. singles and album artwork?
Does music influence your work at all?
The illustrations for Fontaines D.C. are actually pieces
There is no direct influence, but I do listen to music
I had created previously. They selected a series of my
while I work. Some of my favourite playlists for working
existing work and purchased the licensing rights for those
include heavy, fast classical music and funk from the 70s
pieces.
and 80s.
Who’s work do you admire and why?
Finally, what can we expect to see from you in the near future?
I admire a variety of creators, particularly in comics, such as “Watchmen” and the work of Tatsuki Fujimoto. I’m
I’m not entirely sure, but I definitely hope that whatever
also a fan of anime, particularly the works of Satoshi Kon
comes next will be something that resonates with people
and Masaaki Yuasa. Additionally, I enjoy cartoons like
or that they will enjoy.
“Anpanman” and “Doraemon,” as well as TV shows like “Hacks” and “Bojack Horseman.”
x
Lulu Lin
shop.soyoungmagazine.com
That’s when it’s really fun, when you feel like you’re not
Jamie: With Pixies, we’re touring with living legends
just rehashing the songs you’ve rehearsed over and over
really. They’re an amazing band sound-wise so there’s a
again.
lot to gain from them. With Fontaines, we definitely saw what they could do with a few chords, which was inspired.
P: I think people feel that as well, if you’re just watching a
It maybe had an influence on how we approached the new
performance that has been done the same way 50 times…
record.
H: We grew up watching Pearl Jam live at Pinkpop;
H: With Fontaines, we were watching them every night
Nirvana play live at Reading. We’re watching these rock
more or less. You just believed them every time you saw
bands at their best, playing the best rock shows that have
them.
ever been played on earth, and being like, “that’s the bar”. P: The first tour with Fontaines in America, most of Has playing bigger stages affected that at all?
us hadn’t been on a tour that long, especially not in the States. It was interesting seeing how they carried
H: The bigger the stage, the more confident I feel. I think
themselves and got through that, in their own way, on and
we belong on the biggest stages possible.
off stage.
Given that you’ve toured with Fontaines D.C. and
Big tips for touring America?
Pixies, did you learn anything playing with these bands night after night that you took on board for
H: Don’t go in a splitter.
yourselves? J: Don’t follow a band around flying everywhere and you J: They’re at that level where they’ve been through the
have a fucking drive like 17 hours a day!
motions. We’re thinking, “we want to do this”, so we’re watching how the process works and how best to utilise an
Jamie: I mean, do do it. If the opportunity is there!
environment like that to do the best show possible.
33
Wunderhorse
Presents
GradList
2024
We are excited to partner with the Arts University Bournemouth for a fifth year and to select and show off some of 2024’s graduates from the Illustration course. The work chosen ranges from ceramics to children’s books and character design. We caught up with the selected illustrators to get an insight into their work and highlight some of our favourite pieces.
Millie Johnson – @mill.ustration
Erin May Cooper – @erinmaycooper
Dominika Leszczynska – @dleszczynskaa
Heidi Teremetz – @heidi.teremetz
Arthur Gnivko – @gnivko_art
Tom Filer – @thelostoctopus
Denisa Ailenei – @pixi4rt
Freya Relfe-Dacey – @freya.rd.illustration
Maisie Barr – @maislecakes
Martin Samways – @leckuth
Around the time that we were finishing ‘WASTELAND’,
There’s this amazing community around Bristol, that is
Silas got interested in reading philosophy, especially
interested in extremity, experimental music, putting on
where philosophy interacts with economic theory. He
nights that were the craziest thing anyone has ever seen
started introducing me to literature that dealt with,
and that having a kind of magnetism. Extremity in music
for example, the way that political commentators and
and the arts has a kind of mysterious pole to it.
politicians talk about the economy. Silas is responsible Do you see yourselves a Bristol formed band?
for introducing me personally to all of the music that really inspired me going into my 20s, because we all met at University, such as early post-punk, industrial music,
Yes. We relocated to London, but we are still involved
noise, minimalism; all the things that fed ‘WASTELAND’.
in the community there. We do a monthly radio show on
He introduced me to Lukacs and the theory of reification.
Noods Radio. In our time coming to Bristol, it’s one of
We liked the idea of an album that dealt with this arc of
the best things to happen in the city culturally, and Micky
thinking about how we are kids, hammered into a certain
Zoggs where they broadcast from, which thankfully has
way of thinking and as you grow up you get to this point
just been saved from developers; which we know doesn’t
where you realise, so much of my worldview is built on
get to happen that much.
things that I’ve just assumed are correct, or the correct modes of thinking. We thought it would be great to do
Electronic music is thriving outside London, but bands
an album about life, the way that we understand it and
do tend towards London. Do you see that as an issue?
explain it each other. The lyrics were written from a place of gradually getting to grips with that.
Totally. I think that the centralisation of the British music scene in London is not only destructive for people trying
What do you believe to be the dominant genres or
to get into music living in the provinces, the North, as
sounds in your music, are labels necessary?
another barrier in an already incredibly unfair industry. That is awful, because it makes you think about how
It’s interesting isn’t it because when you think about genre
much music we are missing. But, it also breeds this thing,
labels, that in itself a tool developed to explain music
talking about the experimental sensibility of cities outside
to each other. We have however, about since the time of
of London, since the London scene is so saturated with
writing ‘WASTELAND’ thought about our sound very
people, not just A&R’s but people acting as proxy A&R’s
largely in terms of industrial and minimalism, even if only
– radio plugs, PR’s, music lawyers – all these people are
in terms of their kind of the spirit. The spirit of the cold,
they trying to find musical talent first and bring it into
alien, modern world and this thing that’s all to do with
their stable. As a result of that, if you’re a new artist in
change, funnelled through this very crude, simple guitar
London and you’re doing something vaguely interesting,
band.
you’re being snapped up before you’re able to develop. Whereas in Bristol there are so many acts that go for ages,
Where does that desire or tendency towards extremity
us included, before anyone in London pays attention them.
come from?
As a result, they get to mature and, in many cases, develop into increasingly weird shapes.
In a word, Bristol. I think that we formed in Bristol, certainly at a time when it felt like it was trying to shrug
There’s a lyric that sticks out to me, “A labour of
off the albatross of trip-hop and all the stuff that had come
constructing knowledge”. Is that then what you see as
before and carve out this new sense of identity. Young
the project of LICE, at least for the moment?
Echo had just recently established themselves as a big, important cultural force in Bristol; Howling Owl records
That’s what LICE is, it’s about curiosity, trying to carve
coming through releasing things like Silver Waves; a
out some understanding of the deceptively complicated
brilliant industrial label called Bokeh Versions which then
structures and systems that we live our day to day lives in,
expanded into a circle of experimental noise artists called
and the way we explain it to each other.
the Avon Terror Corps. 43
LICE
Seeing as you’re all artistic in so many other ways,
I’ve never been to a house show! I wouldn’t even know
how do all of those ventures play into each other and
where to start but I would’ve loved to have that when I
interact?
was younger.
D: They’re definitely intertwined. Even before we moved,
A: Some people’s parents were just like “yeah lets have
we wanted to function as more of an art collective, moving
hundreds of teens over”.
to LA helped us to focus on that. Being surrounded by a lot of visual artists, there was a little more encouragement,
K: I have a feeling the parents didn’t know.
and we could do things that melded those worlds together. Last year we did a little noise set in one of our friends’
When you tour, do you ever get a chance to look at
warehouses, that’s something we’ve wanted to introduce
local scenes in new cities?
into the band for a while, our art desires definitely meld with the band.
K: Sometimes, I mean we try to as much as possible! When we look for support acts we try to find bands that
It’s a bit chicken and egg to ask which came first, but
are local to that scene if we can. Unfortunately we don’t
in an attempt to understand which process you started
usually have much time between the dates to be able to
with, were you already involved in other kinds of art
explore, which is really sad, because we wish…
when you started making music? D: We definitely would want to, if we knew what show K: It happened at the exact same time. The importance of
was happening or what the scene was like, but sometimes
art and music were one in the same to us and still are. So
just coming into a new place you don’t really know where
from the very beginning we were thinking about both I
to find a show or if it’s even happening. I’m definitely
guess.
always thinking about that.
A: Dillon grew up with a heavy background in illustration, drawing and painting. Keyan was always into design and architecture growing up and throughout highschool. For me, I had more of a musical upbringing, but I’d also do stuff with sewing and other art as well. So when we met each other we all had these distinct artistic interests that meshed together really well. You all grew up in Orange County, earlier you mentioned the difference between the scene there and the scene in LA, what was the scene in Orange County like? D: At least when we were growing up, like 2016 and a little before, the scene was made up of local punk or indie bands. It was sort of all over Orange County which was really cool. It would be really small venues and a lot of house shows, there were four or five major spots that everyone would frequent. It was typically a lot of punk, hardcore and indie.
53
Photos by Silken Weinberg, design by Josh Whettingsteel
Artists
Josh Whettingsteel
Editors Sam Ford
Josh Whettingsteel
Writers Sam Ford
Neve Dawson
Natalia Quiros-Edmunds Poppy Richler Will Macnab
Josh Whettingsteel Elvis Thirlwell
Teddy Maloney Reuben Cross
Amber Lashley Peter Martin
Mia Lambdin
Printed By Ex Why Zed
Lulu Lin
Gisela Navarro
Thomas Spooner Sam Nowell Nurit Gross
Orlando Weeks Peter Doyle
Melinda Ureczki Dominika Leszczynska Millie Johnson Erin May Cooper Heidi Teremetz Tom Filer Arthur Gnivko Denisa Ailenei Freya Relfe-Dacey Martin Samways Maisie Barr Tommy Brentnall Emilyn Cardona REN
Cover Photos
Website
Photos for Collage
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