CLUNK Magazine 001

PRESENTS

ISSUE NO.1

CORNISH spotlight Meet the Cornish artists you should be checking out now!

THE HOWLERS

London based desert rockers share new music

SOURFACE Shows us life in London

WEBMOMS

Talks life in Cornwall and its growing scene

ZUZU

Speaks on her new album and year ahead

IDLES EDEN PROJECT PERFORMANCE

Exclusive gallery from their performance at the Eden Project.

AND MORE!

FERRIS & SYLVESTER / FOALS / ARLO PARKS / DJANGO DJANGO / BLACK HONEY

ILLUSTRATION: @red_moon_design

WELCOME

ISSUE NO.1 GOSH, WHAT A ROLLERCOASTER OF A YEAR THIS HAS BEEN. It felt like we would never be going to live shows ever again, only to be thrown into the deep end in August covering shows and festivals across the country. It felt almost alien, even scary at times. But we’re incredibly grateful to be back amongst the crowd, enjoying live music again.

In this first official zine we share a look at what we’ve been up to this summer and autumn, from festivals, to live shows, through to bands we love. Along with guest articles from our friends at Musosoup TV, interviews with Zuzu, Black Honey and not to mention our cover star Webmoms!

As always, we’ve worked incredibly hard on this zine and we hope you enjoy it as much as we loved making it. Thank you for your continued support with CLUNK and for all the love you show us.

A special shout out to Felix Bartlett for adding his magic touch to this zine and to my sister Rhiannon Webber (Red Moon Design) for the amazing illustrations.

kieran webber editor-in-chief

Editor In Chief: Kieran Webber Print Editor: Felix Bartlett Cover Photography: Craig Taylor-Broad Illustrators: Rhiannon Webber (@red_moon_design) Contributors: Willow Shields, Callie Winch, Alannah Williams Photographers: Kieran Webber, Felix Bartlett, Craig Taylor-Broad, Willow Shields, Praew Nicharee

30. BLACK HONEY

CON

6. WEBMOMS

6. WEBMOMS INTERVIEW We chat with Karum Cooper about all things Webmoms.

26. LIFE IN LONDON WITH SOURFACE Sourface take us on a tour of life in London.

12. MUSOSOUP TV RECCOMENDS The gang over at Musosoup give us their reccomendations.

30. BLACKHONEY INTERVIEW Exclusive chat with the entire band.

14. ON THE ROAD WITH FERRIS & SYLVESTER Take a peek into life on the road with the Ferris & Sylvester.

20. THE HOWLERS INTERVIEW The Howlers share new music, mental health and heading back on the road.

26. SOURFACE

38. PHOTOGRAPHER SPOTLIGHT Feature of freelance photograher Willow Sheilds work.

44. ZUZU INTERVIEW Zuzu discusses her new album, life in Liverpool and more.

44. ZUZU

ENTS 52. IDLES LIVE AT THE EDEN PROJECT Exclusive gallery showcasing IDLES concert at the Eden Project.

72. FUZZY SUN INTERVIEW New music and surviving lockdown with Fuzzy Sun.

56. BEST OF EOTF Deep dive into the best acts over the weekend at End Of The Road festival.

78. CORNISH SPOTLIGHT Meet the Cornish artists you should be checking out now!

60. DOT2DOT FESTIVAL Reviews and coverage of this years Dot2Dot Festival.

64. BEST OF BOARDMASTERS FESTIVAL Hightlights of this years Boardmasters Festival.

80. CLUNK’S ONES TO WATCH 2021 Keep your eyes peeled on these bands in 2021.

72. FUZZY SUN

14. FERRIS & SYLVESTER

20. the howlers

FROM ALT ROCK/POST HARDCORE BAND Hypophora to his latest lo-fi project, the multiinstrumentalist and producer Karum Cooper brings to life his new and exciting project Webmoms, which can only be described as a project rich in influences across the musical spectrum. Join us as we sit down and pick at the mind of highly talented Karum Cooper and discover more about his journey and creation of Webmoms.

WORDS: KIERAN WEBBER PICTURE: CRAIG TAYLOR-BROAD

Hey Karum, how have you been? How’s life been treating you?

“Life’s been treating me pretty well thanks. A little stressed and a little manic at points, but I’ve been the busiest I’ve been in months so that’s something to be thankful for.”

There’s been a hell of a lot of ups and down over the last couple of years so not sure if I’m just desensitised at this point ha!”

So, how did Webmoms come to be and what was the influence behind it?

“Webmoms I guess is my most personal musical venture so far. It’s a combination of all my influences outside of the rock/metal world, and a few from within that world too. All the hip-hop/jazz/fusion/soul artists I’ve listened to rolled up into one and to me... feels like my truest,

honest musical and lyrical expression (in the least pretentious way).”

It’s a pretty big shift musically from your previous projects such as Hypophora, what led to this?

“Nothing really led to this, so to speak. I’ve always been into this world or style of music, and actually have been releasing little bits of ‘Webmoms’ stuff on my Soundcloud since age 16. But lockdown, and the last 18 months or so has really pushed me to pursue it as a serious musical avenue.”

“That being said, I actually find a lot of similarities

“I GREW UP PLAYING IN BANDS, JAMMING WITH OTHER PEOPLE AND BOUNCING IDEAS OFF FRIENDS AND BANDMATES”

between Webmoms and the stuff I was writing with Hypophora and other bands.

Melodically and harmonically I’m still obsessed with a lot of the same chord shapes, rhythms etc. and find myself re-using many musical ideas that were commonplace in the band stuff.”

You’ve released several singles and an EP since the beginning, but much of your music is collaborative.

Do you feel you thrive working with others?

“Absolutely. I grew up playing in bands, jamming with other people and bouncing ideas off friends and bandmates, so that approach to making music comes really naturally. I really enjoy creating on my own, but always find that I rely on a fresh set of ears or a different perspective to give me an idea of where to take a track or let me know what’s missing, how to structure a song etc. etc. That to me is

incredibly important. Also, I’ve not quite yet found my singing voice and I’m blessed to have surrounded myself with insanely talented singers, instrumentalists and producers. It’s sort of a nobrainer getting them involved in my music.”

Do you have any dream collaborations?

“Way too many! Where would I start? Top of my list would probably be Tyler, The Creator.

Pharrell, but I heard he’s a bit of an asshole.”

the track I did with CLB and Daisy Clark. At this point I’ve got no idea what ‘Webmoms’ is. I’m just vibing and making music that I like the sound of.”

When you started Webmoms did you have an idea of what you wanted to create?

Some see living in Cornwall as a hindrance, but I feel you’re proof of someone that is advancing as a musician. Do you feel the idea that you need to leave Cornwall to be successful is somewhat of a myth?

“Sort of. But not really. I’m a fusion kinda guy so I knew I wanted to go for a blend of multiple things, but honestly, I didn’t give myself any borders in terms of genre.

Earlier this year I got really obsessed with acoustic guitars and open tunings. Things just took a drastic turn toward a lofi-folk-pop kinda vibe. Like

“Thank you. First of all, I think that it is a myth, and you can be successful anywhere. Being in Cornwall definitely makes things a whole lot more difficult. It requires ten times as much hard work to be successful in a place like this compared to bigger cities.

Why should more artists consider playing in Cornwall?

But there’s something much more satisfying and rewarding - an extra challenge I guess - and the added element of having a much less saturated and competitive music scene.”

It’s safe to say that you’re a prominent figure within the Cornish music scene, and as a musician in the industry as a whole. What has changed in the last few years and do you believe Cornwall is about to turn a corner in regard to its flourishing music scene?

“I really hope Cornwall is about to turn a corner! I’m doing all I can to make that happen, that’s for sure.

I think just being included on the UK touring circuit carries so much hope for local artists. Now that we have our own little micro-climate of a music industry; a multiple goodsized venues, promoters, bands, producers, studios and press (like Clunk!) I don’t think it’ll be very long before we make a bigger ripple in the wider UK scene.”

“Seriously speaking though, it’s a beautiful part of the world and people care a lot about music down here.

Maybe because we don’t have such a large number of touring bands? It seems like everyone is so much more grateful when we do get something.”

Am I right in thinking you have your first live show coming up in December?

What can we expect from that?

“Well for starters the supports are absolutely insane. I am stoked to have them on the bill let alone be playing myself. My tight as

“I’VE GOT A METRIC SHITTONNE OF UNRELEASED MUSIC AND COLLABORATIONS WITH A FEW FAMILIAR NAMES. THE NEXT CHALLENGE IS TO FIGURE OUT WHEN TO RELEASE THEM”

”

as a nut live band will be bringing all the Webmoms favourites to life. We jam a lot, and improvise a lot, so things could go in any direction really. I really am blessed to have such a talented band help me do what I do. Tunes will be played, drinks will be poured, and dances will be had. I think it’s just going to be a real positive night full of friendly faces and good music.”

How do you feel your recorded music will translate into a live setting?

“Well, I had a festival gig back in July and it was wicked. I think it came across well!

I’m not into the idea of playing to backing tracks and live looping with this project. I felt like I needed a full live band to do justice to the nuances and little details, but also to re-interpret them and add their own musical flair. Something I’m so used to, playing with bands throughout the years. Everything is live. There’s a fair bit of improv and on the spot decisions and I’m really loving it. It brings a totally different energy.”

Lastly, what can we expect from Webmoms in the future?

“Well, a few more live appearances that’s for sure. I’ve got a metric shit-tonne of unreleased music and collaborations with a few familiar names.

I think the next challenge is to figure out how and when to release everything.

Eventually I’d love to jump back in the studio and record a full album with my band, rather than selfproducing in my room at 2am after 3 coffees.

Something really ground breaking for me personally and musically, I feel like I’ve only just scratched the surface of what Webmoms is and where I can take it.”

ILLUSTRATION: PETER ADRIAN LOGO: CREASE

MUSOSOUP TV RECOMMENDS

WORDS: OLI SHASHA & BECKY WARRINGTON

AT MUSOSOUP TV WE’RE often drawn to the artists with the online clout, the tip top tiktokers and the armchair politicians of the day. These brash facets may be dynamite for the camera, but on the level playing field of the music biz, the smash-hit economy (or perhaps lottery) still stands tallest. Though a good PR team could probably take you to the 12pm slot on John Peel, you can’t headline Glasto on captions alone.

So, interview quirks and personal gain aside, here are our five favourite up and coming acts from the greatest of the British isles and beyond.

Oli recommends: ‘Modern Woman’ We find Modern Woman in a cesspool of boundary-pushing London artists, transcending one and other, day in day out, in search of that sweet final slice of irony pie.

Refreshingly though, Modern Woman aren’t getting involved, and whilst their brand of guitar music is thrashy like the “scene” would have it, the thrashiness crucially rests on a delicate veneer or otherness. Theirs is a sound that leaves you wanting to cling on, and not let go.

‘Stores’ Another gem that found its way onto my Discover Weekly comes from Liverpool two-piece Stores. Their debut single Bones really blew my hat off. A no-nonsense welding of guitars and drums that could put Royal Blood out of a job, Stores could find themselves on some big ass stages if they keep this up.

‘In The Trunk’ There’s not much I can say about In The Trunk, other than they’re a young south London outfit with little regard for seriousness or

sincerity. Their debut single Glue is a buoyant, shimmering Indie hit that’s sure to light up a number of not-soshimmering London pubs both north and south of the Thames. Check ‘em out.

Becky’s favourites: ‘Valley Sixteen’ Wedged firmly at the top of my On Repeat playlist since the release of debut EP ‘Apartment Flaws’ back in May, Valley Sixteen is an indie force to be reckoned with. (Think Charlotte Lawrence, BANKS with the tiniest dash of Pure Heroine Lorde.)

Self produced to perfection, Valley is “DIY til she dies”, the 21 year old really taking the term ‘bedroom pop’ and projecting it up into the stratosphere.

A bit further afield than our other recommendations (around 8,200 miles if you want to get into specifics), Gabi du Plessis is

currently based in Cape Town, so if anyone needs me I’ll be waiting patiently for the UK Tour.

‘Wonderprince’ Last but most definitely not least of our Musosoup TV recommendations is soon to be psych pop sensation ‘Wonderprince’. Wiggly synths and brooding vocals characterise last month’s debut release, ‘Ordinary People’, which is anything but ordinary. Comparing his music to the likes of Todd Rundgren, Grizzly Bear and Tame Impala, it’s safe to say if Wonderprince was any more up my street I’d be making him a veggie spag bol in my kitchen.

Catch Wonderprince at The Finsbury in London later this month as part of our ‘Musosoup Presents’ showcase and then probably Scala, and then the world.

Follow @clemobooks for next pop up location

INDEPENDENT BOOKSHOP NEWQUAY CORNWALL

TOUR LIFE

ON THE ROAD W FERRIS & SYLVES IT’S BEEN JUST OVER A YEAR BUT LIVE shows are finally back in session! Since 2018 I’ve been working closely with Americana band Ferris & Sylvester photographing behind the scene and on-stage moments to share with the world. Join us over the next few pages to take a glimpse into life on the road during their latest tour ‘I Should Be On a Train’.

WORDS & PICTURES: FELIX BARTLETT

Ferris & Sylvester were formed back in the summer of 2017 at Camden’s Spiritual Bar. The two met here and shared the same stage for six months, but never played the same night A hundred gigs later, Ferris & Sylvester are a force to be reckoned with. Classic songs, standout voices, excellent stagecraft and drive make Ferris & Sylvester shine with many industry veterans already backing them as stars of the future and ‘Ones To Watch’ in 2021 and beyond.

“WITH CLASSIC SONGS, STANDOUT VOICES, EXCELLENT STAGECRAFT AND DRIVE MAKES FERRIS AND SYLVESTER A FORCE TO BE RECKONED WITH.” With their highly anticipated debut album ‘Superhuman” officially scheduled for a February release keep your eyes peeled for a tour announcement and make sure you preorder their album.

If you’re looking for your blues rock fix or even if you’re just looking to check out some new music, then keep your eyes peeled and catch these guys in the new year in a venue near you!

FEATURE

THE HOWLERS KNOWN FOR THEIR UNIQUE ‘DESERT-ROCK’ sonic styling, ambitious trio The Howlers are steadily rising through the indie ranks with their dynamic and breezy soundscapes.

The East-Londoners have a certain knack for penning insightful self-introspections and painting a colourful narrative with honest lyricism and raw instrumentation that cements them as one of the best up and coming bands to grace the stages. Having just released their inspired new EP ‘The Sum Of Our Fears’, the band are heading out on a string of UK tour dates to deliver their new musings for the first time to a live audience.

Vocalist Adam Young runs us through what the last year has looked like for the threesome, and what the future holds for the forceful and determined band.

WORDS: ALANNAH WILLIAMS

PICTURE: ROB BLACKMAN

For our readers who aren’t familiar with ‘The Howlers’, can you just give us a few words to sum up your music?: “The only way we can really describe it is like honesty. We’re just trying to be authentic to ourselves. We coined it desert rock and that’s just mainly to do with the iconography, and the things that help inspire us.

We viewed London as our home, and a sort of cultural desert; in some ways, it’s very barren. It’s a very diverse place. It’s beautiful, the multiculturalism is amazing, but in terms of musical diversity and people these both tend to fall into these little groups dotted around the city, so we saw it as a little bit barren in terms of people being authentic to themselves.

We’re just trying to do something that’s authentic to ourselves - it’s what we sound like when we pick up guitars and drums and based, we don’t try and sound like anything. We just plug in, and that’s what it sounds like.”

We last chatted with you guys just after the release of ‘I Don’t Love You All the Time’. Can you give us a brief overview of what’s happened in the world of ‘The Howlers’ since then?

“A lot of bad luck.

We’ve all been horrendously ill consistently. But apart from that, there’s a lot of things going on behind the scenes that is exciting and lots of opportunities of amazing things I can’t really speak of because I’m still stressing my days away to make it all happen. The EP came out and it’s done everything that we wanted it to do and more. We don’t have a label or management or anything behind us so everything we do is just us.

new songs for the tour.

We’ve been working with major labels and a lot of writers and big artists that we love and look up to. So, we’ve learned a lot, and it’s all about growing and developing and just being better and being honest to ourselves.

We’re not trying to pull the wool over everyone’s eyes and say we’re the greatest band ever.”

So, to have it as well received as it has been, with no support from Spotify or anything like that has been pretty amazing. But aside from that, it’s just working on a lot of

“Weird, because we worked on it for about a year! It’s strange because it was definitely this moment where we definitively grew as people and

Congrats on the release of EP. How does it feel to finally have that out in the world?

became more a family than friends. As a band we took the pandemic in a weird way. We all said the other day that it did us a real service because it allows us to be reflective on what we were doing. If it hadn’t been for the pandemic, we’d probably still be mediocre.”

Did the pandemic affect the release of the EP? “No, because before the pandemic the other songs didn’t exist. We had only been a band for nine months before the pandemic and that put it into perspective.

When the pandemic happened, obviously the world went into a bit of a spin and all that and we actually threw out our set list and started again.

We held a mirror up to ourselves and decided we weren’t good enough. We lost track of everything we wanted to be. After losing loved ones and being ill, I wrote roughly thirty songs in the space of three weeks and then we whittled them down to the ones on the EP. So, there wasn’t a timeline attached to it. Then the first single came out in March. So, it was quite quick, which is crazy because obviously none of the industry was in their offices or anything.

So, it was calling people

in Detroit and calling people in Newcastle and all that and just trying to figure out what is going on. Meanwhile, we were going through a legal dispute with an old manager. We were trying to get rid of it in a really like snide way and kept saying we have to keep this release secret.”

You mentioned that you wrote about thirty tracks in three weeks.

What was the process behind picking which ones made it onto EP and which didn’t?

“Which ones were good is the blunt way of putting it. Music for us is very collaborative so although I am the primary song writer and a lot of them are my experiences I know the boy’s experiences as well. The process is very much like me bringing an idea forward and we deconstruct it, and everyone has to have

their input. Some songs work, some don’t. I’m autistic and dyslexic so I can’t really get across what I am envisioning for a track, which is why I’ve been working with all these big names because they’ve got these processes in place that are designed to work with my brain.

It was gauging from them which ones were good and not.

Ultimately me and the boys have the final say on everything, and the boys are quite blunt with what they think is good and what isn’t.

Some of the tunes on the EP are mashed together, ‘I Don’t Love You All The Time’ is actually three different songs.”

Do you think you’ll revisit any of those tracks that you discarded in the future?

“Maybe bits and pieces, like lyrics and lines, deconstructing

“I’M AUTISTIC AND DYSLEXIC SO I CAN’T REALLY GET ACROSS WHAT I AM ENVISIONING FOR A TRACK”

the tracks and using the good bits. Sometimes you have to write songs just to get rid of that ‘idea’. Not every track has to be a hit.”

How do you feel being autistic and then trying to get what you’re thinking down into words? Do you think that hinders you in anyway?

“I don’t see autism as a hindrance or handicap in anyway, I think it’s a super power. There are times when it causes issues, especially when trying to understand other people’s point of views, especially when it comes to song writing. Not being able to finish a narrative or a song can be really frustrating. You’d be surprised how many musicians breaking through at the moment are actually autistic and how many friends of mine that I have idolized over the years we looked up to, who I now have the privilege of calling friends and speaking with them and working with them and they turn around and go, “yeah, I’m the exact same.” So, I guess my answer is yes and no.”

In terms of autism and mental health, do you think it is important for people who have a platform, like musicians, influencers, whoever it might be to talk about it?

“Definitely. I think not enough people talk about it. I also think there’s not enough understanding or awareness. It doesn’t make you less of a person. From my personal experience when I was diagnosed, my immediate family i.e. my mum and my dad, didn’t believe it. It took me a good couple of years to educate them, make them understand and now I’m at such an enlightened point in my understanding of how my own mind works and how I’m into everything. But yeah, I think it’s just really important that

“PEOPLE GO TO A GIG AS ESCAPISM, TO LEAVE ALL THEIR SHIT AT THE FRONT DOOR. ” people talk about it and understand it. And I think although there are some creative outlets that are toxic towards it. Music is a really good one, art as well.”

So, ‘The Sum Of Our Fears’. Could you share some of the themes that are running through that EP? It’s exactly what the title says. It’s the sum of all of our fears as people; love, loss, longing and understanding, they’re all in there.

Even some of the song titles, they speak for themselves. They’re all self-explanatory.

It’s about us as a band, our aspirations, and dreams, and how it slips away and gets lost in translation. A lot of ‘popular’ music has political themes and we don’t do that. I feel people need an escape from that. People go to gigs as an escapism, to leave all their shit at the front door.”

What was it that came first. The single or the EP? “The song had the title first. Out of all the songs on the EP, that’s the darkest, and it was like a hanger-on from the sound we were before.

But in some ways it represented our rebirth because one of our fears has always been being inadequate as a band.

Plus, it sounds cool.”

My personal favourite on the EP is ‘Never Enough’. What can you tell us about that track?

“That track has a funny story, I said at the time it sounded like a football track, like it belongs on match of the day and later it did end up being on there! It was just something fun to play and easy and picked up so quickly. But in weird way it was designed to be football focussed and it has been received in that way, which I don’t mind.

“WE DON’T REALLY PUT A TIME ON THINGS BECAUSE EVERYTHING IS SUBJECTIVE”

PICTURE: ROB BLACKMAN

In the studio we had no name for it, and we nicknamed it MOTD. I went to see Portsmouth and sat in my brother’s seat while he was visiting the Isle Of Wight and it was playing in the ground.

I was like, “that’s kind of cool” and I sat there in the sun listening with 20,000 people just chatting away during it.”

You’ve got a string of tour dates coming up in November. How are you feeling about finally being able to play in front of a crowd again?

“I won’t lie, I’m a bit nervous. We’re so much better as a band than the last time people would’ve seen us, and it’s exciting to be playing all of these new places. I’m looking forward to it a lot. It’ll be interesting.”

Is there any particular element about touring that you’ve missed?

“Meeting people. I love meeting people. I hate people, but I love meeting people. You know what I mean?

Some people, you just think, “oh, God”, but other people, you’re just like, “I’m unbelievably interested in every facet of your life”. We have a couple of really awesome die-hard fans and for a small band, it’s really nice. I don’t miss sleeping on sofas though, that sucks. But the people are so cool.”

Is there a particular venue you’re excited to play?

The Lexington is pretty cool. I’m looking forward to London, because that’ll be our

biggest home headline show.

I’m just interested to play them all. To be honest, Stoke would be kind of interesting.

We did a little festival in Stoke a while back. We’ve played Rock City but I like the smaller venues. You’ve got to be able to smell the person in front of you, you’ve got to be able to smell them, and talk to them. I just want to play now.”

Talking about venues like the Lexington. Do you think it’s important for fans to get out and support live music with so many under threat from closure with COVID-19?

“Yeah, definitely! I know people are scared and people are the reservations. It’s even more important to support venues as well. I think people take venues for granted too much. If you’re all double jabbed come on down! If I’m walking into venues having had a stroke four weeks ago you can come out too and support someone! Most are only £10 on the door, it’s nothing, but that keeps a roof over someone’s head.”

What’s next in the world of The Howlers?

“Lots! We don’t want much from life, like, as a band, we just want to make a difference in some small way.

We want to obviously keep releasing music. And there’s a few things that we’re working on that will be

amazing if they happen. It’s just the small things. But there will be another series of records next year. It’s all about just surviving really. Keeping going, keep meeting people and keep being happy.”

Do you have any goals as a band? Things to achieve before the end of 2021?

“We don’t really look at it like that. We don’t really put a time on things because everything is subjective. We’re often touted as one of the ‘best bands you’ve never heard of’. That’s a kiss and a slap. As far as 2021 is concerned, we have a few things we’re working on at the moment.”

Have you got any messages for your fans?

“You know what? No, I don’t, because I think that there are people that like us, and there are other people that love what we do, and we’re so grateful for that. I guess that’s the message.

We’re really grateful for the support. But those people that haven’t heard of us, I think it’s better if they discover us naturally, rather than me telling them to go listen to us.”

LIFE IN LONDON WITH

SOURFACE ARE A NORTH LONDON based indie-pych band. We caught up before their recent headline show at the Assembly, Camden and after many a lost phone call and a lack of a kick pedal, we trekked into what was left of the sunshine. Following the road that cuts in between Camden Market and a big Morrison’s we searched for somewhere to capture some shots.

The band were fully clad in their best wear, pointed collars and fitted suits galore! After almost blinding the band with so-called “golden hour”, and almost being hit by a bus, we walked back down to the venue where I asked them for a series of questions on life in London.

WORDS & PICTURE: WILLOW SHIELDS

With most of the band hailing from France, my first question was easy.

How did they end up in London? “Tom grew up in Le Vesinet on the outskirts of Paris, Ludo and Alex in the centre of the city, and Matt in the English Cotswolds. We all moved to London in 2017.”

Arguably, French breakfasts are the ruler of all. So where do Sourface find a suitable breakfast in the capital? “Kent Cafe in Kentish Town. Or a tclose second, the Euro Cafe on Cally Road. Perfect for a slow Sunday with a hangover.”

I’m personally always looking for a good spot to walk since I’m quite impartial to walking in the city. Sour Face recommend going “Down the Camden canal with a coffee. Peoplewatch at the market. Finish up gazing at the view on Primrose Hill. Repeat.”

As for spots of greenery in the big smoke their personal favourite is “Regent’s.

I had a delightful nap in there before our recent gig. It’s always super quiet even on a sunny day.” After the long, and sporadic summer we’ve had, I asked the band where their favourite spot is to spend a sunny summers day, “It’s gotta be stunting it round Soho with the sunnies on, judging tourists, and reveling in the Boschian chaos of consumerism.”

However, where do the coolest bands go for their groceries?

Sourface enlightened me and shed some light on my burning question. “Phoenicia supermarket on Kentish Town Road. For those

who crave a bit of the Mediterranean in their week. Don’t bother with a flight, just come here!”

And what borough is Phoenicia supermarket in? It’s in the band’s favourite borough of course “Camden!”. They also name their favourite Wetherspoons location as “The Ice Wharf in….

Camden, of course.

Although the Marylebone place was offering £1 pints before lockdown, so they should get creds for that too.”

However, as dedicated as they are to their beloved North London, Sourface name the Circle as their favourite tube line. “Although it can be long, used to take me back to uni when a new term started. Real good memories.”

I then pose to the band the famed question of somewhere they’ve never been but have always wanted to go “The Science Museum. Yes, really! Love me some scientific progress.”

And the best hidden gem?

“Ain’t Nothing But Blues, just off Regent Street. Always a great atmosphere. And dancing on the tables! Take me back to uni when a new term started those were real good memories.”

“A WALK DOWN CAMDEN CANAL WITH A COFFEE, PEOPLE WATCH AT THE MARKET, FINISH AT PRIMROSE HILL. REPEAT.” As I asked Sourface where their favourite spot to see live music is they replied “[We] saw black midi at St John’s Church in Hackney recently, that was a cool setting, although the acoustics were not great.”

On that vein, what do Sourface proclaim as the best night out in the city?

“Heaven for the classic tunes and friendly atmosphere with an obligatory walk home braving Arctic temperatures.”

Perhaps prerequisite by an evening in their favourite beer garden “The Lord John Russell in Bloomsbury. We must have been half these guys’ revenue back in the day.

Highly recommend.”

WE’VE BEEN BIG FANS OF BLACK HONEY since their stunning self-titled debut album released back in 2018. Since then the band have grown exponentially, having toured across the UK, supported Queens Of The Stone Age, and released their latest album ‘Written & Directed’.

It’s been a wild ride for the band to say the least having just recently opened for IDLES at Eden.

Since witnessing their live performance, I have been eager to chat with the band. Earlier this year I was joined by Izzy, Alex, and Chris via zoom for a chat on a sofa in Glasgow before their sold-out show.

WORDS: KIERAN WEBBER PICTURES: LAURA ALLARD FLEISCHL

How’s the tour been so far? You’ve been up and down the country, right?

Alex: “It’s been good, we’ve been on and off the road for the last few weeks. We’ve played a variety of festivals too which has been great!

The shows have been really good actually.

It’s been so good to get amongst it, Izzy in particular has been getting people hyped, jumping in the crowd and crowd surfing. It’s been great.”

Does it feel weird playing shows again? It must be pretty surreal to be back on stage and mingling with the crowd again. Is there any apprehension when it comes to this or are you just good to go?

Izzy: “I’m not worried about us when it comes to Covid, but I hate the idea of someone catching it in the crowd. But this is the window, it feels like at some point it could get

“WE’RE IN AN INCREDIBLY PRIVILEDGED POSITION TO DO THIS AT THE MOMENT AND YOU NEVER KNOW WHEN THE LAST GIG MIGHT BE”

shut down again. I think we just want to make the most out of this and oppertunitize, is that a word?”

It is now! Let’s get the Webster Dictionary involved!

Izzy: “Okay but credit me yeah? It’s an opportunity to go full ham and make it an extremely fun time and even a highlight of the year. The most surreal experience for us was being at Latitude Festival back in July, there was 60,000 people walking around without masks on, that was a real deep experience.”

Chris: “Yeah, that was fully weird. Afterwards you’d walk around and go in the shops and be like oh shit yeah, there’s still a pandemic”.

Alex: “We’re in an incredibly privileged position to be able to do this at the moment and you never know when the last gig might be, so you need to take the moment and make the most of it. I will say though that Latitude felt like an alternate reality, as it was so close to the last lockdown.”

So, across the shows you’ve played in the past month has there been any particular high or shows that have stood out?

Izzy: Eden Project with IDLES. Chris: Eden Project with IDLES was fucking insane.

I’m so glad you said that as I was there shooting. That show was mind blowing!

Both you and IDLES killed it. Such great performances!

Chris: “What an amazing setting Eden Project is, the way they put the lights on in the domes is so insane.

It was such a special event.”

Alex: “We got to walk around the biomes to during the day. We were so tired as we had driven such a long way. The night before we played a pub garden to about 20 people!

Which is mad because the night before that we played at Rochester Castle to about 5000 people. It was so nice to be able to cruise around and take it all in, the food is amazing there as well. It was so nice to be able chat with the IDLES guys as well, just an all-round enjoyable gig.”

It’s such a unique place to play and for people like myself down here in Cornwall it’s a real treat to be able to see bands such as yourself and IDLES commutable from my house. Cornwall is often overlooked so I am always grateful when artists decide to play here.

Izzy: “It’s so far though, it took us so long to get there.

I often forget England even goes that far down.” (laughter from everyone).

Chris: “Although it took a while it’s arguably one of my top 5 gigs we’ve ever done, I loved it.”

We’ll have to get you guys down here again soon.

Maybe Boardmasters 2022?

Alex: “That has been on our radar for a while actually.”

Izzy: “Yeah, everyone really rates that festival.”

It’s a great festival!

The location is insane, you’re literally on the top of a cliff overlooking the whole of the North Cornwall coast.

Talking of tours, I was curious to know what are your top five essential items to bring when you hit the road?

Izzy: “Always plenty of knickers. I plan for at least two pairs per day.”

(All) A DAY! Izzy: “Right, I always run out knickers. Listen, you wear a pair of knickers in the morning, you play a gig. After the show you might not shower because you get too drunk. You’re not going to go to bed in dirty knickers, so you

change them to get into your pjs, then to go to bed. Then when you wake up you’re obviously not going to wear the knickers you slept in, so you shower and then put on a new pair.

Numerically you need about 2-3 knickers per day, I have worked this out numerically.”

Alex: “So, Izzy takes about 45 pairs of knickers on tour we found out. Chris, you always bring a soldering iron too actually.”

Chris: “Yeah soldering iron is such a great tool.

Unfortunately, we’re not at the stage where we can afford loads of roadies or guitar techs, so I have to maintain my guitar myself. It keeps falling apart.”

Alex: “Chris soldered one part of his guitar before a show not long ago, then got off stage and something else had broken.”

Chris: “Yeah, if anyone reads this and wants to give me a new guitar I will be very thankful!”

So, I want to talk about your most recent album; ‘Written and Directed’.

Was there anything that you did differently on

and he recorded the whole thing with one microphone. Instead of putting microphones on each instrument he just kept moving the instruments physically around the single microphone.”

this one when recording it compared to your debut album? Could you talk us through the process of this release?

Chris: “Yeah. Quite a lot different. I think with this one we felt we had established what we wanted to do a bit more. So, we tried to do the most raw and true to ourselves version on this record.”

Izzy: “But then saying that we also had brass and stuff and we weren’t really sure if it was going to work.”

Alex: “It was also with different people which really helped as it made the process a lot easier.”

Izzy: “Yeah, it was more experimental. Our producer had a very avant-garde thought process. For example, on a previous record there was an orchestral part

Alex: “Yeah, with us for example if there was anything quirky or perhaps out of tune instead of saying “go back and do it again”, he would keep it in. He loved that.”

Chris: “He’s all about the feel and energy, and that made us have a lot of confidence in our record. He was always searching for something interesting, it doesn’t always have to sound perfect. It needs to grab your attention in some way.

He always would let the song be the song if that makes sense?

It’s kind of how the brass element came in as he was just like, “let’s try it!” We didn’t walk into this record with the intention of having brass. The idea of that sounds awful but it really works. We were really lucky to work with the Haggis Horns who work with Mark Ronson, they absolutely smashed it.”

So, you released it through your own label, ‘Fox Five Records’. I’m curious, what was the idea behind this and why did you start your own label?

Izzy: “Well, the real answer to that question is that we never really found any major label that wants us or is willing to put down the sort of money that we would want to make our record.

That for us is a really big thing, if someone wants the rights to our music we’re not going to sell that for £2.50. I would love to say that we’ve always wanted to be independent but that’s not necessarily true, but it has worked out weirdly perfect for us. You have to think about what you want as an artist, you want to have the freedom to create what you want, and you want to be able to have a say in how it’s released and marketed.”

“We have that luxury, we’re still broke and we have no money, we haven’t taken a huge pay-check like other bands. However, we have the main things that are fundamental to us as artists. Not to say we wouldn’t sign something in the future, but we’ve done this for so fucking long it would have to be for the right price. We

have had offers come in recently but it’s still not what we want, so no thank you.”

Chris: “The problem is it will be like a thirty-year contract with a pay-out which will cover my rent for probably 6 months.”

Alex: “Also, we’ve done it for so long now that we’ve invested so much into our own independence it’s starting to tipple over now where it’s almost not worth it. The band as a whole is almost

itself now, so it would be stupid to take the first offer that comes along.”

Izzy: “We’re not fully unsigned mind you, we work with The Orchard on licensing, so we have teams working with us. We have what we call a family that works with us on making our product if you will. It’s not just some rogue guy sat at a desk.”

Alex: “We’re a very tight knit team and everybody’s heart is truly in it.”

“WE NEVER FOUND ANY MAJOR LABEL THAT WANTS US OR IS WILLING TO PUT DOWN THE SORT OF MONEY WE WANT FOR AN ALBUM” Chris: “Yeah and a lot of them are friends who work with us too, which is why it all works so well you know? We try to make sure we’re involved in every step, whereas some bands may be happy to sit back and let others work for them.”

Izzy: “Yeah, our photographer is literally upstairs right now designing our t-shirts as we speak.”

I think in today’s world you can be more independent and there are more tools at our disposal, thanks to the internet. You can truly empower yourself as an artist in today’s world.

Obviously, it’s nice to be signed to a major label and there are benefits, but the DIY approach is great. You guys are living proof of how to be successful whilst remaining independent.

Izzy: “I think the traditional music business format is deeply flawed and the new way of thinking actually supports bands better. The days of labels chucking millions into a band and hoping the hit the big time are kind of over. It’s like a lottery. Personally, I don’t want to be someone lottery bet. I would music rather carry on at our own pace instead of having that pressure.”

Bringing it back to the album I wanted to know if you have any favourite tracks on the album and if so why?

Alex: “‘Believer’ just for that drum fill.”

Izzy: “Yeah ‘Believer’ is a great track. I’ve enjoyed playing that live too. I am just at the point where I can play it confidently, whereas tracks such as ‘I Do It To Myself’, I did loads of guitar

on and I am always so worried it could go wrong.”

Chris: “I really like the heavier ones. I love playing ‘I Like The Way You Die’ and ‘Run For Cover’, that track always kicks off pure chaos at the end of the set.”

Alex: “I love our current set as we have such a good mix of old and new tracks such as ‘Corrine’.

It’s great to watch everyone reacting to that.

There’s such a great mix of tracks actually.”

Izzy: “Yeah, it’s nice to see our older tracks sitting so nicely with our newer ones.”

Chris: “It feels like we have a really good blend of old and new so that everyone can walk away satisfied by one of our shows.”

So, the album took some inspiration from Tarantino films and I was hoping you could rank your favourite Tarantino films

Always be true to yourself and write what is you. As soon as you try being what you’re not. People will see through it.”

Chris: “Inglorious Basterds!”

Izzy: “I feel ‘Django’ is a great all-round Tarantino film. In fact, ‘Kill Bill’ is amazing, especially ‘Kill Bill 2’. In fact, this might be controversial but ‘Once Upon A Time In Hollywood’.”

Chris: “I love ‘The Hateful Eight’, that film was amazing. The first two hours you don’t know what the fuck is going on but at the end it all clicks and you’re like oh shit!”

Izzy: “It’s weird at the moment as I am having a bit of a Tarantino realisation as he’s a problematic person.”

Chris: “From a creative stand point though, you know, looking at it solely from a creative.”

Izzy: “Yeah, I do really like the way he portrays women in his films though, they’re actual protagonists. Kill Bill was the first film where I saw a woman as an actual super hero.”

Izzy: “I would say authenticity is the main goal.”

Lastly to wrap things up what advice would you give to any aspiring musicians or creatives?

Izzy: “I would say find a job that can help you do what you do, something flexible that gives you the opportunity to work on your shit whilst you can remain supported.

Use what’s available to you as well, don’t afraid to use Universal Credit, look at all options. Also, be sure to look at what you create and ask yourself if what you’ve made is really good or “do I just like it?” People will discover you if the work is good enough.”

Alex: “Don’t get complacent and think what you’ve done is enough.”

Chris: “Always strive for more. It’s not easy though, we’ve all got jobs on the side of this as well. Don’t compromise when you’re writing too.

Alex: “Don’t forget to be good live as well, work on that performance. Don’t forget that although your songs are the main thing you need to be able to bring it live. Practice as much as you can, work with good musicians, look at doing merch.”

Izzy: “Oh my god, this is a lot of information.”

Chris: “Welcome to the Black Honey degree of music (laughs).”

Izzy: “Basically, pay attention to all areas, think about all of it.”

Chris: “And stay true to yourself.”

Izzy: “And get a job that supports you.”

PHOTOGRAPHER SPOTLIGHT

WILLOW SHIELD WILLOW SHIELDS is a London based freelance photographer who captures images in both analogue and digital formats. Her work focuses mostly on portraiture and live music and has captured some of London’smost noteworthy upcoming musicians.

Instagram: @wwillla PICTURES: WILLOW SHIELDS

EXCLUSIVE

ZUZU

WE’VE BEEN ENAMORED BY ZUZU since the release of her 2017 single ‘What You Want’, a hook heavy, anthemic indie number that boasted her infectious song writing. This has continued through her music to this day, making her an alluring musician. After a string of singles and EP’s Zuzu is now gearing up to release her debut album ‘Queensway Tunnel’, available November 12th via Planet Z Records. It’s safe to say we’re incredibly excited to wrap our ears around the release and wanted to find out more. We caught up with Zuzu to have a chat about life growing up in Liverpool, her music, and more!

WORDS: KIERAN WEBBER PICTURES: ROBIN CLEWLY

How’s your summer been? Have you got any highlights from it? I know you’ve been quite busy!

When you say your own terms how do you mean?

“Yeah, it ended up being really busy. I was worried that it was going to be a case of everything being cancelled as there were cancellations and festivals like TRUCK that didn’t happen in the end, which is disappointing, but it turned out to be a good summer in the end. So, yeah, it was fun.

Leeds was so fucking sick, we played the Thursday night, and everyone was just so up for it.”

“I’ve kind of got complete control over the musical side of things now. Well, over everything. I shot all the videos myself. They were my concepts and I put the team together. So, it’s very much my project and from my head.”

So now that summer has passed and we’re drifting into the autumn and winter seasons, what are your plans? Have you got anything lined up?

“God, I don’t even know. Some of the songs on there are really old. The writing process was like, there are songs on there that I wrote when I was 18 and songs on there I wrote 2 weeks before we finished recording it. In terms of actually recording it we did it here in Birkenhead, we’ve got a little home studio at my house. We were really lucky during the pandemic to have that start and be able to just make a record.

It was cool. It was just me and my fiancé.

We did it together. It turned out to be really wholesome.”

“Yeah my album is coming out November 12!”

Excited? Nervous?

“A bit of both! I think I’ll be relieved by the time it comes out, but in the same breath, I’m really nervous.”

Why are you so nervous?

“I don’t really know why.

It’s just the anticipation.

I’ve never put out an album before. It’s kind of different this time. It’s a bit more on my own terms so I will only have myself to blame.”

So, what was the process in recording the debut album?

“IT WAS AN EMOTIONALLY PAINFUL EXPERIENCE AT TIMES.” “It was a weird one because obviously, when you get to record the songs, you weirdly work through some of the cheesiness as you work through some of the shit that went behind the songs. It was an emotionally painful experience at times but the actual practicality of recording the songs wasn’t, it was great.

I was dealing with a lot of shit during the recording of this..”

Was there anyone that influenced the sound of the album in particular?

There’s two more which is Haai who’s a DJ and a really good friend of mine who’s done one and Jayda G who I’m really excited about too.

“I think my biggest influence for this record was actually the people around me in my everyday life and Liverpool. It was the longest time I’ve ever been in one place my whole life. I think. I mean, obviously, like, I’ve grown up in Liverpool, but it was the longest time in my adult life I’d ever stayed put for more than two years. I was really taking in a lot of the things around me.

I was just sitting in the park listening to people’s conversations. For example, conversations I had with my mum about my life falling apart, same with my dad. Those long conversations with family and the advice and the crowd, I really love a good venue but there isn’t one specific one that I always want to go back to. I think you can really create an amazing atmosphere with the right line-up

they give you. My album is very based on Liverpool and my roots.”

Could you explain what life was like growing up in Liverpool and perhaps some misconceptions that people have about it?

“Liverpool gets a lot of shit. So, I haven’t lived in Liverpool my whole life.

I moved down South and I lived in London and worked there. I didn’t realise fully the extent of the misconceptions about Liverpool until I left. People will call you robbers and shit. I had a job as a waitress and the guy would say “people will give you their card” and people would say “don’t run off with that!” I realise now that the reality couldn’t be further from that, Liverpool is one of the most hardworking, honest, and industrious cities. It’s a proper northern city with a shit ton of work ethic. That was instilled in me as a kid. I see my mum and

dad a lot more now. My mum’s still there every day working at the NHS, giving people’s dialysis.

My dad is still putting graphics on shop windows working every day, out on the road constantly. That’s the biggest misconception about Liverpool is that we’re lazy or robbers. It’s such bullshit, Liverpool is fucking honest and super hard working.”

It seems from the outside that Liverpool has a very rich music scene at the moment and throughout history has had one. Why do you think this is? Is there a solid community that surrounds and cultivates new music there?

“There’s definitely something in the water, you know what I mean.

Liverpool is a very inspiring city and there is a lot of history here, most of us grew up on The Beatles. Even if you’re not a fan it’s played in every shop. I think that plays a part, but also in the past few years there’s been a

I think it would do the country great to have a big wave of Northern representation come through.

proper group of local musicians that have been coming through and it hasn’t happened overnight.

Everyone’s been working hard, and everyone’s been grafting up to this point.

People in Liverpool are very supportive of one another.

Like, I fucking love The Mysterines! I’ve known Leah since she was 16! She’s a fucking angel. Pixie, she’s sweetheart. Red Rum Club, Angels and Jamie Webster is also so supportive. It’s genuine too and I think we all love seeing other scouse artists as well. We need more representation of the North in general, not just Liverpool.”

“I think we’d be fucked without the people of the North in this country, they’re the people that keep the Government in check.

I think we’d be fucked without the north in this country.”

I’ve seen in a lot of your interviews that people bring up your accent and I wanted to make a point that it’s so monotonous that people even bring it up, and trust me the irony isn’t lost on me whilst I ask this question, but does it frustrate you that people focus on it and two do you think people would mention it if you weren’t a woman?

ILLUSTRATION: @red_moon_design

“It’s so funny you say that.

Yeah, I guess it happens more because I am a woman.

I just get more shit about it, right? Weirdly it doesn’t frustrate me. It’s gotten to the point now that I don’t care, in fact I embrace it. I think people need to hear more of my accent. If people want to talk to me about it and it helps normalise it to them, then great. But you’re right, they don’t ask men about their accents in bands. I just think I think that women are told to soften up. When I was growing up I would be told constantly I look classy until I open my mouth. “Fuck that noise”. I can work with the strongest, most intelligent Northern women, and they are fucking sassy and they don’t take any shit. I am not saying we don’t have softer sides, we do, but I refuse to be quiet and, in the corner, it’s not healthy. Young scouse girls should know they’re destined for greatness. Not just scouse women but all women, all women with hard accents and not just in the North either. People take the piss if you have a strong accent and think you’re thick, especially if you’re a girl.”

“IT’S GOTTEN TO THE POINT NOW THAT I DON’T CARE, IN FACT I EMBRACE IT AS I THINK PEOPLE NEED TO HEAR MORE OF MY ACCENT”

I agree, you’re totally right.

I’m sure you’ve got some things to say when it comes to being on tour. Could tell us a funny or memorable moment that’s happened to you recently on tour or in general?

“One time we were supporting The Cortinas and Gerry Cinnamon in the Scouse Riveria, aka North Wales. Me and Julia, (my bassist) who is mad into guitar and loves pop music like me were walking around and brought this One Direction board game from the charity shop. We got back to venue and had loads of time to kill, it was so funny. The objective is to get backstage and you have to do dares. You have to know though The Cortinas are a very cool band and Gerry Cinnamon is even cooler. So, we’re backstage playing this fucking One Direction board game, so one dare comes, and it was to do a handstand and shout out your favourite One Direction member. There was no room in our changing room, so we had to go out in the corridor and as we got into the handstand and started shouting, fucking Gerry Cinnamon and his crew walked around the corner. It was so funny, they were so confused to as what they just witnessed.”

PICTURE: FREDDY PALMER

ILLUSTRATION: @red_moon_design

LIVE SHOWS

IDLES

BLACK HONEY/SPECTRES EDEN SESSIONS, EDEN PROJECT, CORNWALL

IDLES continue to prove that they can put on a killer live show whilst simultaneously highlighting the importance of live music.

WORDS & PICTURES: KIERAN WEBBER

SATURDAY, SEPTEMBER 18th saw one of the most highly anticipated shows in Cornwall unfold, Spectres, Black Honey and IDLES were about to play the iconic Eden Sessions. A venue in which I’ve seen the likes of Blink-182, Motorhead, and Queens Of The Stone Age. The backdrop of the biomes makes for a unique experience to say the least. To add IDLES to the bands I have seen at this outdoor venue was a true privilege.

Support acts Spectres and Black Honey provided a great energy that warmed the crowd up spectacularly, particularly Black Honey, a band that I have been extremely eager to see live for a while. Black Honey did not disappoint and played a strong set

that saw songs from their latest album ‘Written & Directed’, a selfproclaimed Tarantino inspired album, that has hip swinging riffs, stunning vocals from singer and guitarist Izzy, and levels of cool that would make Mr. Freeze feel jealous. There is much to be adored about Black Honey and their live show solidifies them as one of the most exciting up and coming rock bands.

It’s safe to say that IDLES have become a much different band and unit since my first experience with them back in 2018, in a small 300 cap venue

called The Hub (RIP) in Plymouth. Since then they have released multiple singles and had two highly successful albums.

Not to mention becoming a cultural phenomenon and a voice that resonates with a people across a multitude of backgrounds. The one thing that has remained however, is that IDLES are a formidable live band that excel when put on a stage, you can’t help but find yourself wrapped in the unified madness and intensity of their performances.

However, even though the intensity there is always an aura of unity and love that runs through their shows, especially since the release of their rallying album ‘Joy As An Act Of Resistance’.

IDLES now have three albums that convey three emotions or atmospheres, ‘Brutalism’ is IDLES at their highest intensity, even angriest. ‘Joy As An Act Of Resistance’ turns the tides and has them taking their anger and turning it into love, begging the listener to not give in to hatred and stand unified against the bullshit of the world, and ‘Ultra Mono’ is IDLES at their most confident. It’s an album that is in ode to their achievements, it’s a celebration. All of this energy can be felt at an IDLES concert and was on show at their Eden Sessions set with aplomb.

Opening with the slow building pressure cooker of a track ‘Colossus’, building slowly till the point of explosion.

Joe Talbots snarls backed by the growls of bassist Adam Devonshire created a frantic, high octane experience, something that was felt to the very end of the set. Bowan and Lee found themselves in the audience at many points during the show which was to be expected.

Both members showing their characteristic flair on stage, swinging and throwing themselves around frantically. The true strength of IDLES, as always coming from drummer Jon Beavis, who is nothing short of a unit on the cans.

All these elements blend to create an

experience that as I type is giving me goose bumps.

For a moment between the jumping, singing and shouting a rush came over me. I realised I was once again stood in a crowd full of people smiling, laughing, cheering, singing, holding each other in unity, all in one place enjoying live music in what has been a long and quiet two years. It e the importance of not just IDLES but live music in general, we as humans, especially in a world filled with fake news, confusion, hatred, and bigotry need a place to unwind and enjoy music that resonates.

Throughout their set IDLES treated us to a wide set that cascaded through their back catalogue of tracks such as ‘Mr. Motivator’, ‘Danny Nedelko’, and ‘Divide & Conquer’. It was a true IDLES experience that gave fans new and old something to be excited about.

The final track saw supports Spectres and Izzy of Black Honey join them on stage for a last hurrah, a sonic explosion that was truly bewildering.

Watching all these talented musicians jam out their frustrations was nothing short of brilliant to watch.

As the stage lights came down and the noise ceased a roar came from the crowd, who just like me knew they witnessed something special. It was a truly magical experience that was sound tracked by one of the most brilliant and arguably important bands to have arrived in the last decade. Long live IDLES and long live UNITY!

FESTIVAL COVERAGE

END OF THE ROAD FESTIVAL

TOP PERFORMANCES LARMER TREE GARDENS, DORSET WORDS: CALLIE WINCH

WE’VE FINALLY GOT OVER the post-festival blues from End of The Road 2021 (and a horrendous hangover) to bring you our favourite acts that we caught across the weekend at Larmer Tree Gardens.

Located in a serene pocket of Wiltshire, we were graced with sunshine and heat the whole

weekend of the festival, and despite this being our first trip to End of The Road, it’s left a very special place in our hearts already. After having 18 months away from live music and festivals and being spoilt with such a selection of amazing artists to see at EOTR this year, it was a hard task whittling down who we enjoyed seeing the most.

Our Top Performances At End Of The Road 2021

PICTURE: PRAEW NICHAREE

arlo parks Garden Stage, Friday

Starting off with my personal favourite act I was able to catch across the whole weekend – Arlo Parks. The recent Mercury Award winning artist played a breathtaking set to the Garden stage at the festival on the Friday night.

With the stage situated amongst an abundance of trees and dusk falling over the festival, Arlo Parks provided one of the most captivating and ethereal sets I’ve had the pleasure of witnessing.

Despite the size of the crowd that had piled out to watch the set, the London-based singer managed to establish such an intimate feel for the set. Parks played crowdfavourites such as ‘Cola’ and ‘Eugene’, but my favourite moment came at her announcing for each

PICTURE: ALEX KURUNIS

of the audience members to remember this song should they ever feel lonely before playing ‘Hope’. I’m not sure if it was the sentiment or one too many ciders but a fair few tears were seemingly shed throughout the set.

lazurus kan Tipi Stage, Saturday

We’d already scheduled in to see Lazarus Kane play at the Tipi Stage amongst our extremely busy festival plan and, so, were thrilled to see the announcement of a surprise The Line of Best Fit session from them at The Press Tent on Saturday morning. Playing the Piano Stage, Bristol’s Lazarus Kane brought a selection of covers and an acoustic version of their single ‘Narcissus’ to the audience in the short, but sweet, 15-minute slot they had. The Tipi Stage performance that followed a mere few hours later proved just as

impressive. With amped up energy and flawless showmanship, Lazarus Kane played to a heaving tent of festival goers, providing tongue-in-cheek anecdotes before each song and leaving the audience parched for the future of the band and a much-needed pint.

PICTURE: SEREN CARYS

SLEAFORD MODS Garden Stage, Friday

After seeing Sleaford Mods play South Facing Festival only a couple of weeks ago, I wasn’t expecting them to be one of the top performances from the weekend, but the Saturday headliners proved otherwise. Playing at the Woods Stage with a stage bare apart from a scattering of neon floor lights, Sleaford Mods proved that they deserved to hold one of the headline slots for End of The Road 2021. Despite the set Sleaford Mods not starting until 9:30pm, the duo held the energy of the crowd with their usual highly charged, and politicised, set. Playing the likes of ‘Tied Up in Nottz’, ‘TCR’, ‘Nudge It’,

PICTURE: EMMA VIOLA LILIJA

and ‘Jobseeker’, Sleaford Mods provided a headline slot that echoed through Larmer Gardens and demonstrated why they’re one of the most interesting acts coming out of the UK right now.

BLACK COUNTRY, NEW ROAD

Tipi Stage, Saturday

It’s no surprise that Black Country, New Road are amongst our favourite bands that we caught at End of The Road with the South-London based band being one of the most talked about upcoming artists on the scene right-now. The seven-piece band played two sets on the Sunday, their first to on the main Woods stage and their second as a secret midnight set at the Tipi stage. Black Country, New Road’s music brings an amalgamation

of jazz, pop, post-punk and klezmer to create a formula that, alongside with an exceptional level of musical skill, captures live audiences – and both of their EOTR shows proved no different.

PICTURE: ROSIE FOSTER

Honourable mentions: Katy J Pearson, Warmduscher, BDRMM, Squid, Sorry, PVA, Little Simz, Dry Cleaning, Porridge Radio and King Krule.

FESTIVAL COVERAGE

DOT TO DOT FESTIVAL

BRISTOL

WORDS & PICTURES: WILLOW SHIELDS

DOT TO DOT WAS CERTAINLY ONE of the most memorable festivals of the season, running around Bristol in the ever-changing English weather, felt like being 17 again. To kick off the day with we headed west with a hefty twohour train ride from London. Walking into the sunshine from Bristol Temple meads felt like the promise of summer, only for that promise to be ripped away later by some feeble drizzle. After making the trek through Bristol’s city entre to Thekla and collecting our

wristbands for the festivities ahead, we boarded the iconic boat venue.

The twinkling’s of Kay Young floated through the air as we tried to navigate the new one-way system onboard. Realising quickly that there would be a hefty queue to get into Bristol’s O2 for wych elm. In our sudden realisation we bolted up one of the city’s many, many hills towards the main venue.

Our Top Performances At End Of The Road 2021

PICTURE: AMY FORD PHOTOGRAPHY

With the queue snaking around the block, we managed to get into the grand room just as wych elm began their set. And what a way to kick off the festival Playing the entirety of their new EP ‘Rabbit Wench’ and some of their older songs like ‘greasy fringe’ and ‘school shooter’, wych elm set the standard for the rest of Dot to Dot. Perfect grunge in all its finery. Elm truly set the tone for the day.

We decided to firmly plant our feet at the O2 with the promise of some of our favourite bands performing there throughout the day and into the night. Next to see on our rota were South London’s sorry. Bringing their perfect concoction of post-punk, grunge and off-

kilter synth, sorry didn’t come to play.

With fans going as wild as one can to sorry’s deep, dark music the room was filled with their distinctive sound. Sorry have been relatively quiet recently, other than dropping a surprise EP back in April, they’ve stayed pretty much off the radar. Seeing them live once again, after their album and EP feels like they’ve found a more permanent live line-up which was definitely something special. Sorry never disappoint.

Next up to take to the O2 Academy main stage was Do Nothing.

After releasing their most recent EP

‘Glueland’ the band have been on a mammoth 21 date tour snaking through September until the end of October. Do Nothing has quickly become one of my favourite bands since seeing them for the first time back in 2018.

Their song writing is disgustingly clever and Chris Bailey’s stage manner is beyond captivating, staring into the eyes and sounds of fans until they eventually give in and fall in love with his unsettling presence and Do Nothing’s music.

After the unsettling and oddly romantic ride of Do Nothing, Black Honey graced the stage but there was something different about the band’s presence and general demeanour.

After playing their first

songs, Izzy Phillips announced that less than 24 hours previously they found out that ‘the man who made us who we are today’ Steve Strange had passed away. With their feelings totally raw and the band clearly heartbroken by the ordeal, Black Honey drove on with their set, and it was as if every person in the massive 1,600 capacity venue was grieving with the band as they all sang ‘Corrine’ together. For me this was one of the most memorable moments of the festival, albeit gut wrenching the experience showed how strong and beautiful Black Honey’s community is.

Next up, we made our way upstairs at the academy to catch Liverpool’s SPINN. Their jangly pop gave us some welcomed respite from the heaving crowds downstairs.

Soaked in blue and pink lights, SPINN played their old classics like ‘She Takes Her Time’ and also treated fans to newer tunes like ‘Stargazing’ and ‘Outside of The Blue’, the title track from their upcoming sophomore album. The band had an awkward charm about them and I would definitely recommend checking them out for yourself when they hit a venue near. As their set ended we raced down the stairs to catch the last of Gild Band’s set, surprised that none of them were in fact girls, with that we decided to catch a breather before Sports Team

debuted their festival headline set.

As the battle cry that is ‘Let Me Entertain You’ played as the band prepared for their set the fans went wild in anticipation. As the band strutted one by one onto the stage and began their raucous set with ‘Here It Comes Again’. This was followed by infamous frontman Alex Rice rambling to the front row of teens on the barrier, stating “if you want to see a proper band, go see Palace in the foyer”. With this being their first ever festival headline set, they brought out the big guns for their set list and played old fan favourites ‘Winter Nets’ and ‘Ski Lifts’.

After more preaching from Rice, the band played one of the most hectic sets Sports Team have ever played.

The band closed their main set with ‘Stations of The Cross’, with the last line being “If you want to find love, you could always go to London”. Which would’ve been a lot more poignant if we had been in the capital however it still struck a chord with many a

Londoner in attendance.

Sports Team, for arguably the first time ever did an encore! Where they played ‘Here’s The Thing’, ‘Kutcher’ with Rice climbing up a tower of speakers and finally ‘Stanton’ where rhythm guitarist turned singer Rob Knaggs had to take a verse as Alex Rice being was swallowed up by the crowd.

As a whole, Dot To Dot was certainly a festival to remember and a perfect one to round off the season with.

Complete with bands you know and love, others that you don’t, lead singers going missing and a lot running around. Bring on next year.

FESTIVAL COVERAGE

BOARDMASTERS FESTIVAL

NEWQUAY, CORNWALL

WORDS & PICTURES: KIERAN WEBBER

BOARDMASTERS 2021 came to a close on Monday after five days of basking in glorious Cornish weather, waves, and of course music. This year the festival saw headliners Foals, Gorillaz, and Jorja Smith descend to its coastal site, overlooking the impressively wild and rugged north coast of Cornwall with hundreds of other acts to catch, each bringing their own sound and atmosphere. It’s safe to say that after

two years of no live music, artists and fans alike were eager to embrace one another once more.

Throughout the weekend there were countless memorable moments from Easy Life’s main stage set to Arlo Parks magical performance at The Land Of Saints stage.

Without further a due here are our top 5 performances from Boardmasters 2021:

Our Top Performances At End Of The Road 2021

PICTURE: DARINA SOTDA

KANO Land Of Saints, Friday

Kicking off the list is Kano. With eager and adoring fans his performance was complimented by an array of backing vocalists, a brass section, and incredible lighting which was a show in itself. It was an almost cinematic experience from the rapper boasting not only his lyricism a low but overall artistic vision.

Kano bounced across the stage, donned in a hoodie, only revealing his face momentarily. His energy levels were palpable, hyping the crowd up as he swayed about. The roar of the audience could be felt in one’s chest, something that was almost alien to anyone who hasn’t been to a live show in the past year. You couldn’t help but be

enamoured by his performance that was one-part theatrical and other part musical, proving that Kano is still one of the best in the game.

THE FUTUREHEADS Land Of Saints, Sunday

The Futureheads, who in previous renditions of the festival have graced the mainstage drove all the way down from Sunderland to play their half an hour set at The Land Of Saints. It was a spectacular show that proved that they are still arguably one of the UK’s best live bands. Their trademark acapella vocals and harmonies were as tight as ever accompanied by their frantic, hook-heavy riffs. It was a real treat to watch a band that through my teens really awakened me to the wonders of live music and still bring the same energy nearly 10 years later! (blimey, that makes me feel old).

“THEIR TRADEMARK ACAPELLA VOCALS AND HARMONIES WERE AS TIGHT AS EVER ACCOMPANIED

BY THEIR FRANTIC, HEAVY RIFFS”

ARLO PARKS The Land Of Saints, Sunday

It’s hard to put into words Arlo Parks set, but one would be magical. Arlo played to packed tent of festival attendees and nearly half of the Boardmasters press team. It was truly captivating experience. Arlo’s music filled the air with grace as she floated around the stage, which was adorned with flowers and stunning purple lighting. Her soulful vocals, raw and honest lyrics and uplifting energy on stage was something to be adored.

A moment that will stick with me for the rest of my life, as it will Arlo who was constantly in awe of her audience saying, “Thank you Boardmasters, I will remember this for the rest of my life”.

“ARLO’S MUSIC FILLED THE AIR WITH GRACE AS SHE BREEZED ACROSS THE STAGE, WHICH WAS ADORNED WITH FLOWERS AND STUNNING PURPLE LIGHTING” Mid set Arlo even paused to tell people “Two years ago I was making beats on a laptop not knowing what I was doing and here I am now, I truly believe you can achieve your dreams”. After the 18 months we’ve had, especially for the younger members, who have sacrificed so much it was a really heart-warming comment to hear.

DJANGO DJANGO The Land Of Saints, Saturday

Django Django have released some incredible music over the years but have always remained somewhat lowkey despite them having built up millions of streams and thousands of listeners. Having only recently discovered them through their recent album ‘Glowing In The Dark’ I was eager to see them and get a taste of their sound in a live environment.

To say their set was a barrage of infectious guitar and rhythm section would be an understatement. Their sound was complimented by their unique electro twist adding a unique and distinctive twist to their tracks.

They performed as a band and were completely in control of their sound, blowing the minds of the Land Of Saints audience, myself included.

They opened with the bass-heavy ‘Default’ and led into ‘Spirals’, another upbeat, funky track. It was a whirlwind of sound that came cascading over the audience. It was a real treat to watch.

“TO SAY THEIR SET WAS A BARRAGE OF INFECTIOUS GUITAR AND RHTYHM SECTION WOULD BE AN UNDERSTATEMENT.”

EASY LIFE Main Stage, Sunday

Easy Life cruised on to the main stage on Sunday amidst the Cornish mizzle and played to thousands of eager fans. Both the band and crowd couldn’t be stopped by the small downpour, if anything it only added to the brilliance of their set.

Their mellow, chilled back, jazzinfused indie (with hints of hip hop) provided the perfect backing track for a Cornish festival. The ocean wind blew in, seagulls flew overhead, and Easy Life sound tracked it beautifully. The audience fed off the band’s elation, with smiles all round. It was great to see such positivity from a band who were clearly having a great time. Frontman Murray Matravers dazzled as he grooved around topless, with the frontman giving a cheeky peek of his undies due after

they came down at one point, semi on purpose, the cheeky bugger. Musically the band were incredibly tight, each member playing their part to a point of masterfulness. It was impossible to not walk away absolutely buzzing after that set.

fOALS Main Stage, Friday

Foals are a band that need no introduction.

For the best part of a decade they have installed themselves as one of the UK’s best live bands. This was overwhelmingly evident during their headline performance at Boardmasters 2021, proving the band are a true force to be reckoned with. Their closing songs ‘Inhaler’, ‘What Went Down’, and ‘Two Steps, Twice’ were a tirade of energy that came in constant waves.

Frontman Yannis was as captivating as ever to watch as he ran around the stage, playing his guitar with incredible versatility.

Musically the band form a giant wall of sound that is nothing short of masterful, each member playing their part to perfection. Such energy, musicianship, and passion was incredibly spellbinding. Foals truly are one of the greatest live bands of all time and their Boardmasters set proved that.

Honourable mentions: George Moir, Lianna La Havas, The Big Moon, The Snuts, Katy J Pearson, Do Nothing, The Kooks, Chubby and the Gang, Sam Fender, Jade Bird.

ILLUSTRATION: @red_moon_design

SPOTLIGHT

FUZZY SUN KNOWN FOR THEIR BOISTEROUS energy and effervescent styling, Stockport quartet Fuzzy Sun are ready to set the music world alight with their most ambitious offerings to date. With a penchant for delivering groove-filled melodies, soaring vocal performances and infectious lyricism the band are destined to skyrocket through the indie music scene.

Having recently announced the release of their new EP ‘Since The Dog Died’, we had the pleasure of chatting with front man Kyle about the bands new music and heading back out on the road.

WORDS: ALANNAH WILLIAMS

Hey guys! How are you doing? How have the last 18 months been for ‘Fuzzy Sun’?

“Shite. It’s been a tough 18 months. We just lost all momentum and getting back to that same place feels quite difficult as every band is wanting to come back with a bang.

Yeah, we had a lot of obstacles over the past 18 months. But I think we have come out the other side stronger with a fresh mentality. One good thing to come was the fact we had so much time to focus on writing and recording new material. I think that came as a blessing in disguise as we really got to sink our teeth into that and we have come out with something we are super proud of.”

“WE REALLY GOT TO SINK OUR TEETH INTO WRITING THE NEW EP AND COME OUT WITH SOMETHING WE’RE SUPER PROUD OF.” We’re exceptionally excited about the announcement of your upcoming EP. What can you tell us about it?

“Last Summer we rented out a little cottage in the middle of nowhere on the west coast of Scotland, took all of our stuff up and locked ourselves away for a week to record some new songs, I suppose that’s where the EP started. Once we got back we kept on writing and recording from our rehearsal room and here we are with the finished

product. I suppose it’s a bit of a diary of our last year. This EP is also a bit of a step in a new direction for us, the time really let us figure out what it was we wanted to make and with us self-producing it we got to have a full range of creative freedom and have come out with something really strong.

I was personally going through a difficult time with my own mental health, as I’m sure a lot of people were, so contextually the EP deals with a lot of these thoughts and feelings

and stylistically I think you can expect a lot more guitars, interesting textures and cinematic features. Along with a healthy dose of electronica, aggression and melancholy. (A mad mix I know). Overall, I’d say it’s our best material yet and we just can’t wait for everyone to hear it.”

What’s the story behind the title for the EP, ‘Since The Dog Died’?

“There’re a few different reasons why. Lewis’s beautiful little sausage dog sadly passed away last year, and he came up with the title for a song he was working on at the time, and it was something we all liked as a title. Also, with us feeling like we had pushed into a new

direction we felt like we had a bit of a rebirth, so it also relates to that. I think the amount of changes we had behind the scenes also felt fitting, almost like a new beginning in that sense too. It just felt like it was definitely the right title. And when I remembered my dad had made a piece of art work a few years ago, which was literally a mirrored glass balloon dog I was like “it all makes sense”.”

Is there a song you’re particularly excited for fans to hear?

“All of it to be honest we have crafted this EP to work as a whole piece of music as there is a very constant thematic narrative that runs through each song, so it’s supposed to be enjoyed

in its entirety, as I think that’s something we have lost as a whole when listening to music. I suppose if I had to pick, and if I may speak on behalf of the band, ‘Köln’ is definitely a favourite of ours.”

Themes often tackled in your music range from mental health and identity. Is this a theme that continues from ‘Fake It’ through to ‘Since The Dog Died’? continues from ‘Fake It’ through to ‘Since The Dog Died’?

“Most definitely, I think the tracks on this EP are probably the most open about that as well.

I took a bit of a different approach when writing these songs and felt I needed to be honest about how I was feeling,

“IT ALLOWED US TO BE MORE CREATIVE AS WE HAD TIME TO THROW OURSELVES SOLEY AT IT. ” and this also came out in the songs. I don’t know whether it was a conscious thing or just the head space I was in when writing the lyrics and it all just fell out. The late great John Martyn once said, ‘When you’re in some ghastly emotional state, to be truthful about it, because if you’re not, you’ll hurt yourself’ and maybe this was running through my subconscious when writing.”

Do you think it’s important for musicians to use their platform to raise awareness about mental health?

I think it’s important that everybody does, whether you are a person sitting in the pub with your mates, a musician or anything.

It’s definitely something to raise awareness for as it’s shocking how many people do deal with these feelings. I know a lot of people won’t want to talk, but I think the more people know they can talk about it the better.

Just reach out to people.

Obviously if people do have a platform then make the most of it, but in a general sense I think it’s something everyone should do.”

Do you think the events of lockdown have influence or veined their way into your music? How did you find lockdown creatively?

“As I said before it definitely allowed us to be more creative as we had the time to throw ourselves solely at it with nothing else getting in the way of it. Which I think definitely had its benefits.

I wouldn’t say lockdown influenced its way into the music no. I mean you’re always a product of your environment, so inadvertently their might elements of it as these songs look place in that time period. But I mean when we could get

together and stuff was always when restrictions were being lifted (temporarily) and I think we were always thinking about these songs in live settings when we were writing, so maybe it’s the opposite, the words in the back of our heads were, when this is over.”

You’re heading out on tour in December, how does that feel!?

“Amazing! Like a huge breath of fresh air, gigging is the thing we absolutely love to do, where we feel most at home. To have a run of headlines shows up and down the country after all this time away, is mega! We are very much looking forward to stuffing ourselves in a van for 10 days and playing some tunes

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new and old to the lovely people who come down and see us.”

What is it you’ve missed most about being on the road?

“All of it. As I alluded to in the last question, just getting in the van, sitting in the van driving around having a laugh, little things like that, I miss a lot. Playing in front of people obviously, I don’t think there is a better feeling than that. Personally, I miss just being in a new place almost every day and getting a flavour of it, just having a mooch about seeing what’s going on.”

Is there a venue you’re particularly eager to play?

“In general, there are bloody loads, I don’t know if it would all fit on! On this December tour, it would probably have to be the Hometown Manchester show at Academy 2, it’s our biggest headline show we have ever done, it’s a great venue, the crowd in Manchester are always electric. I mean I can’t wait to do them all, but it will be a lively way to round off the tour that’s for sure.”

and their first release ‘Chaise Longue’ is an absolute banger, I’m a big fan of that and very much looking forward to hearing some more stuff. We saw a band last weekend called Sterling Press who played a class set. New band called Porij, who I saw a while ago that are doing some really cool stuff. Band called Kawala who we had the pleasure of supporting a few weeks ago in Nottingham, very uplifting and groovy and possibly the nicest people you could meet. Me and George have been working on an EP with a lovely chap called Martin recently, which is really cool, so that will be coming out before then end of the year. I mean there is a hell of a lot of cool stuff happening, there’s just a few off the top of my head.”

To round things up do you have any messages for your fans?

“We Fucking Love You! Also get ready for more new music, and get yourselves down to a show in December, bring all your family and friends and let’s make the end of the year really special.”

Who are your favourite up-and-coming bands at the moment?

“I mean I’ve only heard one tune, as I’m pretty sure that’s all they have out, but Wet Leg PICTURE: TOM BEARD

HOME GROWN

CORNISH SPOTLIG WORDS: KIERAN WEBBER

The Ultra Violets

The Ultra Violets are relatively new on the scene but they’re already making waves in the local scene. Playing Boardmasters and opening for McFly at their sold-out Eden Sessions show has been achieved with only two released singles; ‘Romance’ and ‘Watergate Bay’, both of which are classic indie belters. Their music is guitar music at its finest, driven forward by the drawn-out vocals of front man Perran Nicholls. It’s a young project but it’s filled to the brim with infectious confidence.

Bailey Tomkinson

The St.Ives based Bailey Tomkinson has quickly become a national phenomenon. In a short time span she has hit the top of the iTunes charts and been featured in the national press. This is no doubt due to her sultry 70’s soundscape, velvety corals, and poignant songwriting. It’s a retrospective sound that is wonderfully fresh. It’s hard not to be pulled in by Bailey’s soft, yet subtly powerful vocals.

It’s incredibly exciting to watch her grow as an artist and the future is looking bright for this passionate and talented Cornish artist.

The Doinks

Falmouth’s The Doinks have been causing quite the ruckus in the past couple of years, thanks to their high octane and frantic punk sound. Currently the band have a slew of singles and a solid EP under their belt and they’re not showing any signs of slowing down. Their music is short fire bursts of riotous energy with tongue in cheek songwriting that is equal parts observational and comedy scenarios. It’s a fantastic sound that is most enjoyed in a dark, sweaty venue. We urge you to see these guys live.

Roguey Roads

Roguey Roads encapsulates a sound that can only be created in Cornwall, it’s the perfect beach music. It’s a layered, groovy, fun, and warm sound that is delightfully alluring. The two brothers have been crafting their sound since 2017 and have grown exponentially since.

The summer of 2021 saw them play extensively around Cornwall, at gigs and festivals,and also saw the release of their debut album ‘Something To Prove’.

EMERGING TALENT

ONES TO WATCH IN FRESH AND EMERGING ARTSITS ARE IN NO short supply so, the team here at Clunk have decided to share our personal picks of the bands featruing on our playlists that you may not have heard of. Down below check out some of the many musicians making waves across the scene.

WORDS: KIERAN WEBBER & ALANNAH WILLIAMS

WET LEG The Isle of Wight natives washed up on our shores and quickly took over.

They’re arguably one of the most talked about bands at the moment, and for good reason.

They’ve so far only released two singles ‘Chaise Longue’ and ‘Wet Dream’, both of which have built up hundreds of thousands of streams. It’s no surprise they’ve become exceptionally popular so

quickly. Their ability write ludicrously catchy songs is masterful. It’s a simplistic approach that is delightfully alluring, carrying similarities to Ty Segall and Bjork. Latest single ‘Wet Leg’ being particularly infectious, that chorus will stay in your mind for weeks if not months. They’ve also just come off tour with Inhaler and once they release more music, we’ll likely be seeing them dominate festivals and shows across the country.

OPUS KINK

Opus Kink may just be one of the most exciting bands to emerge in the last decade. Which isn’t a phrase that can be thrown around lightly.

The sextet from Brighton combine a fusion of brass, gruff vocals, and frantic guitars and hard-hitting percussion into one ball of chaotic energy. It’s hard not to find yourself flailing around, taken in by their hypnotic and incredibly wild sound. The band first caught our attention with their frantic, spaghetti western single ‘Wild Bill’, since then we’ve been enamored by them. Do yourself a favour and check out Opus Kink and be sure to catch them live when they wash up in your town. You will not be disappointed.

THE LOUNGE SOCIETY Hailing from West Yorkshire, The Lounge Society have been gripping listeners with their plucky, tonguein-cheek, yet poignant songwriting. They’re a young band that are already proving to be light-years years ahead of their peers.

Their debut EP ‘Silk For The Starving’ was an eclectic combination of sounds that dabbled in psychedelic, indie, rock, and post-punk. It was a jagged edged release that was sharp and succinct and had us itching to hear a full LP. They’re band that have captured an energy of a generation, formed out of the mishaps and degradation of this country and its politics. They point a finger at a generation who let the young down and hold them to account, all the while creating delightful infectious jams. It’s hard to ignore a band as talented as theese guys and you’d be a fool to do so.

ROXY GIRLS

The north of England has always been a hit for music and lately and it’s incredibly exciting to watch. One said band that has pricked our ears is Roxy Girls, a band from Sunderland that have a frantic sound that harkens back to artists such as The Futureheads. Although it can be considered to be retrospective it is tuned to the modern ear with their music filled to the brim with jagged guitars, pulsing percussion, and high-octane energy. In classic style for the genre songs never breach the 3-minute mark, it’s quick, sharp, and wonderfully chaotic.

Roxy Girls command a sound that is somewhat overwhelming and is ever demanding in its presence, we are yet to experience them live but one can only imagine the fun their live set brings.

that fuse indie with dub, post-rave, and IDM, in some ways reminiscent to Bloc Party. It’s an anthemic sound that is retrospective of the 00’s indie era yet remains fresh and ripe for new ears. Their observational songwriting approach is arguably their main strength, bringing a real fly on the wall experience. This is particularly felt in their single ‘London, I Love You But You’re Bringing Me Down’. The fusion of sounds and heartfelt songwriting makes Malady an incredibly delightful listen. There’s much time for this band to grow and watching them do so is going to be very exciting.

Sea girls

MALADY It’s no surprise the London four-piece has recently signed to Nice Swan Records, the label that has been instrumental in bands such as Sports Team, FUR, Pip Blom, and many more. They’re an incredibly exciting band

Renowned for their ability to produce infectious popinfused cuts, Sea Girls are on an unstoppable sonic trajectory that is set to see them rise through the indie ranks with an unparalleled prowess. With an impressive back-catalogue of hit after hit, the London four-piece are currently three EP’s and a debut album deep with no signs of slowing down. It’s no surprise the band have garnered fans up and down the country with their own unique brand euphoric rock.

Sea Girls are a sure-fire way of ensuring a good time if searching for a live-music outlet.

school disco The psychedelic/garage rock freakazoids from Brighton are masters of their craft, bringing fuzzed out riffs and far out reverb to audiences across the country.

Since forming the band have released three albums, all of which have developed on their sound. Their latest release ‘Heads Still Here’ is a true refinement of their sound, it’s equal parts grounded and far out. School Disco have shown to be a band that are constantly striving for greatness and taking up every opportunity presented to them. It’s therefore hard not to be blown away by their true passion for music.

It’s evident on stage and throughout their recorded music that School Disco not only love what they’re doing but also live for what they do. If you’re itching to get out there and head to a gig them we urge you to head to one of their shows.

THANK YOU lime garden Lime Garden jump through the barriers of genre definition by molding a sound that is energetic yet mellowed out. It’s indie-disco/funk for the nonchalant and it is wonderfully addictive. In the band’s short existence, they have released a number of singles, from the surf rock sounds of ‘Surf N Turf’, through to their latest ‘Clockwork’, each one as impressive as the last. The tongue-in-cheek delivery matched with the infectious hooks and melodies make for a real head bop experience. It’s a groovy riddled experience that has us hanging on for more.

We’re desperately awaiting the full LP. Keep an eye on Lime Garden as they’re going to be huge within the year, we’re calling it now.

On behalf of the entire CLUNK team, I want to thank you the reader for continuing to read and engage with us. When we created this physical publication during the lockdown of last year we had no idea how it would be received.

It has always been something we have aspired to do, and with your support we have managed to finally release our first official issue!

I want to thank all the writers, contributors and photographers who have dedicated their time to researching and conducting some exceptional interviews for this zine. Every thought counts.

I would also like to say a special thanks to Kieran Webber for his support and dedication to Clunk.

None of this would be possible without him.

Finally, I would like to thank all the musicians who are finally seeing the light at the end of the tunnel and have continuously strived to create some epic content over this past year.

Till next time guys.

FELIX BARTLETT PRint editor