LICKS Magazine - Issue 4

ISSUE 4

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ISSUE 4 LETTER FROM THE EDITOR Welcome to LICKS. Reflecting on our first year as a print publication we want to start by saying a big thanks to everyone who picked up our magazine in 2021 and a warm hello to any newcomers. We are delighted to present an issue chock-full of incredible artists who are either releasing exceptional new music or taking their first, exciting steps onto the international stage.

None more so than our two wonderful cover artists. A year on from announcing their debut album, bedroom-pop wanderer Claud talks us through Time Square billboards, the journey of ‘Super Monster’ and life on the tour. While, magnetic singer James Potter, of Walt Disco fame, speaks candidly about gender, cathartic songwriting and almost killing Duran Duran’s Simon Le Bon. I’m extremely proud of our determined writers, designers and creatives for pulling the strings behind the scenes to make this new music pamphlet come to life. Thanks to their efforts we’ve grown our pages and are more widely distributed than ever before.

We have also taken the opportunity to highlight two inspiring causes. Keychange who are an important organisation dedicated to empowering underrepresented genders in the music industry.

And, Fund Texas Choice who provide support for women looking for a safe route to pro-choice healthcare. Please take some time to check out their invaluable work.

As always, if you like the magazine let us know, tell a friend and stay tuned to our website for fresh articles, new interviews and LICKS live shows in the UK & the US. Enjoy the end-of-year festivities and we will see you again in 2022.

Jack Parker Editor-In-Chief

LICKS TEAM CHIEF-EXECUTIVE-OFFICER

EDITOR-IN-CHIEF

BUSINESS DIRECTOR

Jacqueline Scripps

Jack Parker

Richard Hannan

ART DIRECTION & DESIGN

EDITOR

WRITERS

Meghan Weale

Dan Flood

COVER PHOTOS

CONTRIBUTORS

Hannah Driscoll (Walt Disco) Samantha Tellez (Claud)

Aaron Watts Ana Strutt Camille Bagnani Tallulah Webb

Callum Crowe Chris Prentice Jenny McDowell-Langford Katie Hubbard Laurence Kelly Lily Blakeney-Edwards Olivia Stock Ruari White

LICKSMag.com | LICKSMag@gmail.com | @LICKSMag LICKS Magazine is published by permission of Select Music Group LLC and is governed by the State Law of Travis County, Texas, USA. All rights reserved. All material copyright © 2021. This publication cannot be reproduced or sold in any form, whole or part, without the express permission of LICKS Magazine.

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SWIN DLE With the world on lockdown, South London producer Swindle assembled a formidable crew of artists, including Greentea Peng, Loyle Carner, Ghetts, Joy Crookes and Kojey Radical, to bunker down in the studio for a week with nothing but a blank page. The result; an emotionally rich, sophisticated and masterfully produced contemporary classic.

Swindle joined us to tell his journey from ‘No More Normal’ to ‘THE NEW WORLD’.

When did you first discover your passion for music?

“Since I was young, music has always been a go-to happy place. As far back as I can remember, music has been there for me - life began when music began. My dad always had music on in the house and, around the age of eight or nine, I began to learn different instruments. But, it was listening to artists as a fan where I began to connect the dots and understand the fundamentals of music.”

What would you say are your biggest influences?

“That would have to be great black music from yesteryear, and the UK’s underground scene. I take influences from classic soul, funk, and jazz records, but also from jungle, drum and bass, garage, grime and dubstep.

“I guess, in a way, I take the most satisfying bits from all of these genres as my palette, and use them to paint my own pieces. And, whatever I’m doing, there has to be a nod to the traditions that were defined in soul and funk. I think the mix helps me create something that already feels cohesive and natural, but also new.”

Safe to say a lot has changed between 2019’s ‘No More Normal’ and new release ‘THE NEW WORLD’. How do the projects differ?

“Everything has changed! BLM, Brexit, COVID, lockdowns, the world isn’t the same place. It’s shown we all just need to be sure of who we are. And, if you see a line in the sand, you’ve got to stand up for the side that you want to be on.

“For ‘THE NEW WORLD’, we went into the studio with nothing written and wrote and recorded the whole thing in a week, during the lockdown. It made for the most organic, collaborative work that I’ve ever done. I guess you could say it was an album that just happened, as opposed to one that I carefully constructed. I think it’s far more honest that way. It’s the sound of healing. All of us were just fucked up in lockdown and losing our shit, so, in the studio, we just let it pour out. When I listen back to the album, I can hear it in all the vocal performances, as well as in the lyrics. I can even hear it in the musicianship. Whereas, ‘No More Normal’ took three years, and was very calculated. I was crafting all the pieces of the puzzle, and putting them together slowly.”

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SW I N D L E Do any of your collaborations stand out as favourites?

“I don’t have favourite people I’ve worked with, but I’m especially proud of the work that I’ve done with Joel Culpepper and Kojey Radical, in terms of being a part of crucial moments in their journey. That’s like the new reload for me. The biggest satisfaction is seeing someone that I’ve produced appearing on Jools Holland, or getting their first festival runs.”

Racism, love and death feature prominently on the new record, were these themes a conscious choice?

“We wrote what we were feeling at the time.

Not one word was carefully planned. On ‘No More Normal’ I would have a conversation for an hour with the artist before we recorded anything because I was actively steering the narrative of the album. I was designing something. However, ‘THE NEW WORLD’ was completely unscripted. Every note that’s played, and every word that’s said, was what we felt in the moment, and that’s where those themes came from.”

You’ve been sharing graphic novel-inspired artwork of each of the collaborators on this record whilst discussing their superpowers.

Where did that idea come from?

“When we recorded the album, the world was in lockdown. Nobody knew what was going on.

Protests were happening everywhere. It was a horrendous time! The heroes idea came from sitting in the studio with Akala, Kojey Radical, Joy Crookes, Loyle Carner, Ghetts, Greentea Peng and everyone else. It felt like we were the fucking X-Men and we were going to save the world! It was amazing to do, I’d definitely do it again.”

And what was your superpower?

“Everyone was saying I was like Professor X! I had been gathering up the troops and trying to inspire people. Bringing the younger people together with the older heads is really satisfying for me. You can see the exchange of knowledge happening, and how it benefits everyone. It’s really important.”

This album has a cinematic feel. Would you ever be interested in writing a film score?

“I love ‘70s cop show scores, like ‘Shaft’ and ‘Ironside’, I’m on that! I feel like TV music peaked in the ‘70s! And yes, I’d love to get into TV and film. It’s an ambition of mine as I mature as a producer, I would like the opportunity to contribute to cinema. But, that will come with experience. When you look at the credits for who’s scoring these big blockbuster films, nine times out of ten they’re a fair bit older than me. I know that as I mature and as I get older, I’ll have the opportunity to get better, learn more, and contribute more. When I’m sixty years old and greying at the sideburns, I’ll be doing movies just like them.”

What advice would you give to young aspiring producers?

“Just keep going. You have to work with a ferocious intensity, it’s the only way to do it. Don’t be discouraged if there’s no one doing what you want to do already, that’s an advantage. It wasn’t easy for me to slip into a scene that my music fits into. So, I’d say find your thing, carve your own path and just keep going with it.” •

Swindle’s genre-splicing new album, ‘THE NEW WORLD’, is out now.

Words by Chris Prentice Photos by Rosie Matheson

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lowertown Atlanta two-piece indie outfit Lowertown push the boundaries of their artistry with new EP ‘The Gaping Mouth’. We sat down with Olivia Osby and Avsha Weinberg for the lo-fi lowdown of their journey so far.

When did you first start writing and playing music?

Olivia: “At the age of twelve I had started writing poetry, and by fourteen I’d gotten serious about music. First, it was the ukulele, then a guitar, and I’d take poetry and turn it into lyrics.”

Avsha: “I started playing classical piano at three or four. It was my parents that pushed me, especially my dad who is a pianist. At the time, I wasn’t big on it. I played for like five years, and then had a tantrum and stopped, but I eventually got back into it on my own.

Then I was more self-motivated, and I enjoyed it a lot more. After that I taught myself the guitar, then drums, bass, and a bit about production.”

When did you guys meet and how long was it before you started making music?

Olivia: “I switched schools my sophomore year of high school, so I was fifteen when I met Avsha. We weren’t best friends from the start.

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Honestly, I thought he was sort of annoying.”

Avsha: “I was annoying, it’s okay.”

Olivia: “We ended up growing a lot closer. We started writing music after our sophomore year. We went on a trip together and I opened up to him, I was like ‘why does nobody want to make music with me? I think it’s because I’m a girl.’ Everybody who made music at school was a guy, and they were always exclusive and weird to me. Avsha was like ‘I’ve always wanted to make music with you.’ We made our first album right after that.”

You were so young when you started writing, how has your music developed over time?

Olivia: “When I was younger, I was super direct about everything. As you get more into writing, you become better with metaphors and symbolism. Now, I don’t focus on myself as much in my writing, it’s more about the world around me.”

Avsha: “What I like about our first project

is that it’s very honest and young in its presentation of ideas. I think that’s what gives it its charm.”

Your music videos feel very artsy and dark, what inspired this approach?

Olivia: “We have a lot of intention with the visuals that accompany our music, I like to have a whole world surrounding our art. A music video is such a cool opportunity to collide two art forms.”

Avsha: “We both love art, beyond music. We definitely understand the concept of being immersed in an artist’s world, and having different things to explore with an artist helps you to develop that personal connection with them.”

You have a passionate fanbase that seems personally connected to you, how did that relationship emerge?

Olivia: “I’ve been putting out music since I was fourteen, and I’ve been on social media since then. A lot of our fans have been along for the journey since the beginning, and have literally seen us grow. It feels more personal to find small artists just starting out, I feel the same when I find an artist who hasn’t blown up yet. Also, our music is personal in its nature - when people can relate to it they do feel connected to us.”

How did your new EP ‘The Gaping Mouth’ come together?

Avsha: “We recorded it last year with producer Catherine Marks (Manchester Orchestra, Wolf Alice) in Dirty Hit’s London studios. It was a two-month process; one month of writing and one of recording.”

Olivia: “We definitely experimented more.

One of my favourite songs on the record, ‘Burn On My Own’, is mainly synths and samples, and it’s very weird structurally. The fact that I was able to write over the top of that when I’m most comfortable working with guitar songs is something I’m very proud of.”

‘The Gaping Mouth’ singles, and videos, have had quite the reception, how does that validation feel?

Olivia: “I wasn’t expecting so much positive feedback. Existing on the internet you get a lot of haters, especially as a girl making music.

But there’s been a surprising amount of positivity, I’m blushing thinking about it. I’ve had artists that I really respect saying they like our stuff.”

What’s next for Lowertown?

Olivia: “We’ve never toured, so I’m so excited to try that.”

Avsha: “I would really like to lean into worldbuilding. I love when artists venture into other fields, like Frank Ocean’s ‘Blonde’.

The whole release and creative endeavours around it were really interesting and made me feel so connected to the project. Also, I’d love to do something bigger in terms of videos, something more cinematic and narrativedriven.” •

The wonderful ‘The Gaping Mouth’ EP is out now.

Words by Jenny McDowell-Langford Photos by Shamshawan Scott

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CLAUD

Carefully curating indie-pop worlds of their own, Claud’s music dives head-first into the fizzy joy of youth, st yled with their own introspective ponderings. Pairing charm-filled lyricism with laid-back melodies, the Chicago native made waves with debut album ‘Super Monster’, which delved into the wonder and euphoria of growing up.

We caught up with Claud to reflect on their debut ef for t and talk about the bumps they hit finally taking it on the road.

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On releasing lockdown LP ‘Super Monster’.

“I was so excited to share the album because I love the worlds that you can create around a full-length release.

From the vinyl design artwork to the videos, it felt like a huge leap from my previous work. I really got to pour my whole vision into this album release, and I’m excited to do it again and test my creativity.

“Though I feel like it’s taken going on tour, and actually leaving my house, to feel as though my album actually came out. It’s surreal seeing people sing the lyrics, or seeing that people are listening to the music when the release was all virtual and online - but it’s been really nice.”

On the ‘Super Monster’ sound.

“The record was kind of like a collage.

I didn’t go in with a plan, I was just writing songs every day, not thinking about what I wanted them to sound like. Then, I spent two weeks last summer taking my favourite tracks and reworking them to sound as epic as I could. That’s sort of how the album came together - it was the same way that you make a collage - picking out cool things from a magazine or the pictures you like the best, and just gluing it onto paper.

“I see it as good walking around town music! But seriously, I really like the instrumental outro of ‘Cuff Your Jeans’. I think that track became a little bit of a joke because of the

song title, but I love the ending of it.

And, when I play it live, I get to rip a guitar solo, which is always really fun.

There’s a lot of guitar solos in the live performances of the album!”

“They all knew all the words to every single song, even ones where I didn’t know all the words.

It was so surreal.”

On writing at home.

“My dad has played a really big role in the process. I was staying in his house when the pandemic started, and I was literally staying in my room all day, every day. Because I was working on my album non-stop I just didn’t venture out, because I was writing.

I would only come out to eat dinner, and he would just leave beer outside my door. The whole time he was like ‘What the fuck are they doing in there?’ And now the album’s out, and I’m on a billboard, he’s like, ‘how did that happen?’ So I think he’s proud but very surprised.

“I usually really don’t like going to Times Square, but I went with my dad when the billboard came out the week of the launch. He was definitely way more excited than I was. I was overwhelmed, but he was really excited.”

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On (finally) hitting the road.

“I’ve played one headline show on this tour, in New York. A bunch of people came to the show, and they all knew all the words to every single song, even ones where I didn’t know all the words. It was so surreal. I was like ‘whoa, y’all corrected me on my own lyrics’. It was so fun!

“It is the longest tour ever! It is two months long, and then when this tour ends, I’m going to Europe. I’m so excited, but I am a little nervous, just because of COVID. I just want everybody to be safe but the shows will be in small venues. I’m just gonna make everybody wear their masks.

Aside from that, I’m beyond excited.

I feel like doing a tour of the US is a huge accomplishment. To think I’m doing a tour in cities and countries that I’ve never even been to is really weird.

“I’m always thinking about the next album” “The pandemic has definitely brought its own challenges. My drummer had to go home, and where I’d usually bring on another drummer, you have to think about the COVID risk of introducing somebody else to the tour. I’ve just had to adjust my set for different performances, whether that be playing some tracks

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by myself, others with just one band member, or even improvising some stuff. The other day we played in San Diego, and there was an issue with a corrupt file on the laptop that was running the live show. We just started purely improvising the set, and making different arrangements for each song. It was really fun, and the audience was completely with us. I think people were just so stoked to be at a concert that it didn’t really matter if anything was going wrong, all that was important was that we were playing. But we’re trying to be as safe as we can.”

On what comes next.

“I’m always thinking about the next album, but I haven’t really dug in yet. There are some songs that I’ve written that might come out soon, but right now it’s just about continuing this little ‘Super Monster’ journey and taking care of my body a little bit more. My back and neck hurt from carrying my gear, and my stress, so if I’m not careful I’ll be like an old man hobbling around on stage!” •

Make sure to listen to Claud’s beautiful ‘Super Monster’ LP and you can find them continuing their international tour in 2022.

Words by Lily Blakeney-Edwards Photos by Samantha Tellez

MARCH 9-13, 2022 • LOWER EAST SIDE, NYC A VERY SPECIAL EPISODE (US) • ALICIA CLARA (CA) • ART D’ ECCO (CA) AVA VEGAS (DE) • BEECHWOOD (US) • BLUSHING (US) • BOBBY WEST (UK) BODYWASH (CA) • BUCKETS (US) • CAPITOL (CA) • CAREER (UK) • CIEL (UK) CIGARETTES FOR BREAKFAST (US) • CLIMATES (US) • COUCH PRINTS (US) DATA ANIMAL (NZ) • DEAD TOOTH (US) • DEEP SEA PEACH TREE (US) DEER SCOUT (US) • DIARY (US) • DOCENTS (US) • ELLEN FROESE (CA) EMILY WEEKES (US) • ENJOYABLE LISTENS (UK) • FAWNS OF LOVE (US) • FIEH (NO) FOREVER HONEY (US) • GARDEN CENTRE (UK) • GIFT (US) • GIRL SKIN (US) GOODBYE HONOLULU (CA) • GUS ENGLEHORN (CA) • HOBBY (CA) HOLY WISDOM L.L.C. (US) • JACKIE (CA) • JANGO FLASH (UK) • JELLY KELLY (US) KIERST (US) • LETTING UP DESPITE GREAT FAULTS (US) • LILY DESMOND (US) LIVING HOUR (CA) • LOVE, BURNS (US) • LUNACY (US) • MARIA BC (US)

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BEST

U.K. & IRE LAND

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In partnership with our good friends at distributor CD Baby, Best In Town spotlights promising, regional talent from across the UK and Ireland. Expect to see these faces extending their local fame to the national stage.

MURLI Limerick, Ireland Rapper, producer and songwriter MuRli brings lyrical flow, innovative melodies and progressive production. Working with some of Ireland’s hottest talents as part of the Narolane collective, his talent is on the rise once more.

M E WN Manchester, England Mewn effortlessly craft a mix of cathartic alt-rock and nuanced psychedelia with earnest lyricism.

With the release of debut EP, ‘Landscapes Unchanged’, the band are drawing comparisons to Big Thief, Unknown Mortal Orchestra and early Arcade Fire.

D ENUO Conwy, Wales A shimmering tapestry of dreampop and summer nostalgia, Denuo’s latest album ‘Through Life’, written as a love letter to Japan, is one for fans of Real Estate, Phoenix and Wild Nothing.

KA B BA London, England This Grammy-nominated singer/ songwriter from London via Sierra Leone has collaborated with a long list of artists including Duke Dumont, Craig David and MNEK. Performing under the moniker KABBA since 2019, her latest EP, ‘Note to Self’, is a five-track snapshot of heartbreak, love, pain and strength.

BEST IN TOWN

RUVI M B O London, England

M OY Glasgow, Scotland

British-Zimbabwean artist, singer, songwriter and storyteller RUVIMBO pairs her eclectic, soulful sound with poetic lyricism, tackling themes of depression and loss.

Proving to be an artist impossible to second guess, MOY are putting a fresh touch to influences spanning psychedelia, alt-rock, indie, grunge and power-pop. Their latest release, ‘Renee’, paints a melancholic picture before building up to an explosive chorus.

TO M LU ML E Y & THE B RAVE LIAI SO N Cambridge, England Having gained a reputation for their ferocious live performances, this four-piece offer a dynamic blend of punk-rock taking inspiration from the likes of The Amazons and Yonaka.

Their debut album, ‘Everything’s Affected’, released in October, deservedly landed a Top 10 on the Official UK Rock Chart.

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COM FORTS Brighton, England An unsigned alt-rock group from Brighton modeling their sound around melodic harmonies and bold guitar tones. Get your ears on their new EP, ‘Moments’, which is out now.

BEST IN TOWN

M ACY Abertillery, Wales Writing since their youth, MACY has developed their craft and production skills to grow a catalogue of dreamy pop songs with a contemporary R&B edge. Expect catchy, feel-good, colourful pop perfection.

AU GUST CHAR LE S Doncaster, England Born in Ndola, Zambia and raised throughout the UK, August Charles grew up between two worlds.

Influenced by the music of Sampha, Leon Bridges and King Krule, this young phenom is on the rise as proven by his soul-fueled, hypnotic new track, ‘Blessed’.

E E VA H Leeds, England

COLUM BIA Liverpool, England

This Yorkshire duo, made up of vocalist Nicole Hope Smith and guitarist Richard McNamara, are best known for their energetic, high-speed, guitar-driven, dream pop.

A five-piece from the North West producing a modern spin on guitar music. Taking on the spirit of The Verve, The Stone Roses and Oasis, their debut EP ‘The Potion.’ is out now.

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Words by Callum Crowe Photo by Mescalitas

N NE EWDA WDA D D BRINGING A GLINT OF LIGHT TO A TROUBLING TIME,

MARCH 2020

SAW THE LAUNCH OF DEBUT EFFORTS FROM IRISH NOSTALGIA MACHINE NEWDAD, TOP AND TAILING THE MONTH WITH SINGLES ‘HOW’ AND ‘SWIMMING’. SINCE, THE GROUP ARE YET TO FALTER WITH THEIR EP ‘WAVES’ OOZING WITH ‘90S TINGED SHOEGAZE. WE SPOKE TO SINGER JULIE DAWSON AND BASSIST ÁINDLE O’BEIRN ABOUT EARLY MILESTONES AND BREAKING OUT OF GALWAY.

Now on the cusp of their first UK tour, the group are riding high and excited for what is to come. Julie explains, “we’ve never been on a UK tour, we’ve barely played outside Ireland, it’ll be so cool.” Áindle adds, “the fact that the tour sold out so quickly put our nerves at ease, it’s nice to know people are excited to see us.”

The group will soon be traveling much further afield with a recent, deserved inclusion in the SXSW 2022 lineup, prompting a mixture of excitement and anticipation as Áindle admits, “the longest flight I’ve ever been was a two hour Ryanair trip.”

Graduating into Ireland’s flourishing alternative scene, NewDad are part of a bumper crop of artists following a trail blazed by the likes of Fontaines DC, Inhaler and The Murder Capital, putting a light on the country’s deep and diverse talent pool. Áindle welcomes the spotlight, “I just feel so lucky to be amongst so many amazing musicians. It’s weird to consider ourselves part of it. There are so many acts we look up to as fans, it’s weird when you’re put in the same groupings as them. Seeing how well they’ve done it’s so inspiring to us and made us want to release music. There’s always been great music in Ireland, but it’s just never really got the recognition it deserves. It’s very nice to see that people are finally paying the scene its dues.”

The band has shown an innate ability for capturing hazy, melodic nostalgia, as proved by recent single ‘Ladybird’ which nods to the eponymous Greta Gerwig film. Though the title was somewhat of a happy accident, as Julie notes, “‘Ladybird’ was just a working title ‘cause the chords remind me of the Dave Matthews Band song, ‘Crash Into Me’, from the film. But then the song became about being away from someone that you care about and that kind of anxiety you have. I feel like that’s a big thing with mother-daughter relationships, so it linked back nicely to the film.”

Looking forward to 2022, the group are embarking on another headline tour and releasing a new EP, ‘Banshee’. Áindle notes there’s plenty to get excited about, “we think the new EP is a step forward. It feels like NewDad, but there are new avenues we’re going down which we’re very excited for people to hear. We’re excited to get to see everywhere, too. I just want to see as many places as we possibly can because I never thought I’d leave Galway.” •

You can catch NewDad touring the UK, Ireland and Austin, in spring 2022.

Words by Katie Hubbard Photos by Megan Doherty

F F FU U UR R R

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Brighton-based FUR have been one of the UK’s most exciting new bands in recent years, and with debut LP ‘When You Walk Away’ they make good on the buzz. With insights on the new album, and reflections on the journey so far, we caught up with singer Will Murray.

How are you feeling about the release of your debut album, ‘When You Walk Away’?

“We’re all very excited. A debut feels like it’s a huge deal. Especially because it’s been a long time coming. The songs have been written and recorded in the last two years, but the whole journey of us getting ready to make an album has been way longer than that!”

What was your process for creating the LP, were there any lightbulb moments?

“Josh [Buchanan] and I have always been competitive with our songwriting. We were creating so many demos, trying to one-up each other, and then Josh wrote ‘When You Walk Away Pt 1’ and ‘... Pt 2’, and that was it.

We knew straight away that was going to be the title, that those two songs would bookend the album, and that it was going to be a postcoming-of-age record. Once we had that, it all came together really naturally. We also decided early on that there had to be only new songs on the record. We’ve had people asking ‘Is ‘If You Know That I’m Lonely’ going to be on the album?’. But, I don’t know why you would want that!”

What influences fed into the album’s sound?

“The album is very much us reflecting on our coming-of-age years, in a similar way to how some of our favourite albums, from the likes of The Strokes and Arctic Monkeys, were

made. It’s got a lot of features that would be considered stereotypically FUR, but that has evolved and expanded. Producer Theo Verney (FEET, Lazarus Kane), and engineer Christoph Skirl (Willie J Healey, Lime Garden), who worked on the record, were such a dream team. Having their influences coming in from a different angle was important. They have a love for that ‘70’s sound, which played really well with us. For example, on ‘The Fine Line Of A Quiet Life’, I’d always imagined it as a punky song, but when we started recording it we went for thin, acoustic guitars and it started to sound more glam, like a Marc Bolan song, which was cool. Having those different perspectives and ideas is always important in the studio.”

How does it feel to be going back on tour?

“It feels great! Earlier this year, we played our first show in eighteen months at Reading & Leeds Festival, and I forgot what I was meant to do. I kept questioning how I should stand, it was so strange. We’ve eased into it more now.

We’re very grateful we can get these songs out in the world. The upcoming US tour is going to be particularly exciting! When I first joined the band, getting out to play in LA was a big goal of ours, so being able to start our tour there is a big deal for us. Last time around we had to cancel our US tour, so it feels even more significant this time.”

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“WHEN I FIRST JOINED THE BAND, GETTING OUT TO PLAY IN LA WAS A BIG GOAL OF OURS, SO BEING ABLE TO START OUR TOUR THERE IS A BIG DEAL FOR US.”

A few years ago you enjoyed a run of shows in Asia, how was that unique experience?

When does the work for album number two begin?

“Normally people get to build up their audience in the UK, then the US before thinking about Asia, but we managed to skip a step. Everyone out there was so nice and welcoming. We want to get out to Asia again soon but, unfortunately, it doesn’t look possible for a while due to COVID. None of us had a gap year to explore the world, so we feel especially lucky that we were not only able to play shows in places like Kuala Lumpur and Singapore, but also for the time we got to be tourists over there, taking it all in.”

“Previously, we’ve taken fleshed-out demos into the studio before recording. But, time is on our side at the moment. We’ll get back into the studio soon with just a few ideas, and no confines, and see where it goes!” •

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FUR’s debut album, ‘When You Walk Away’ is out now and you can catch them on tour in North America in spring 2022.

Words by Jack Parker Photos by Julia Nala

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ISSUE 4 PLAYLIST LISTEN NOW AND DISCOVER YOUR FAVOURITE NEW ARTISTS

‘Soft Spot’ by Claud ‘Macilent’ by Walt Disco ‘No Good For You’ by FUR ‘Glisten’ by Kills Birds ‘The Unknown’ by BENJI PATTERSON ‘Good Grief’ by English Teacher ‘Ladybird’ by NewDad And More

SWINDLE

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4.0 / 5

THE BOTS 2 Seater

JOHN Nocturnal Manoeuvres

Seven years in waiting, The Bots have emerged with a truly diverse soundscape that draws you into the revolving door of their youthful music.

Hardcore titans in the making JOHN go for the jugular with third, plucky LP.

‘2U’ and ‘Girl Problems’ set the early pace, proving their knack for writing indie-rock anthems is as strong as ever. The album gains most of its charm, however, from experimental moments on tracks such as Latin-infused ‘Looking Back’ and slow, fuzzy closer ‘Tattle Tell’.

Excellently produced by Black Pumas guitarist Adrian Quesada, ‘2 Seater’ sees The Bots return in some style. We eagerly await more.

Words by Callum Crowe

4.2 / 5

From their native Crystal Palace, John Newton and John Healey (known formally, and unremarkably as JOHN) can see the whole of London. From the alleys and street corners where the darkness appears to collect in a solid mass, to the security guards of the city denying their natural circadian rhythms to protect ever-lit office buildings, came the manifestation of their third record, aptly penned ‘Nocturnal Manoeuvres’.

A surging battering ram of an album, it reflects the incessancy and repetition of modern traditions. It’s surging flow stemming from a pair of cerebral minds who relish pushing the boundaries naturally enforced on any two-piece. It is, without doubt, their strongest material yet.

Words by Olivia Stock

WEIRD MILK We Were Strangers

Words by Katie Hubbard

Commencing with the powerful titular track, the record almost sounds like The Last Shadow Puppets forayed into musical theatre, with strong vocals delivering an air of cheekiness throughout. The collection swiftly progresses through funk-inspired bass lines in ‘Make It Alone (Lonely Boy)’, and indie edge in ‘See You Around’, before arriving at the EP’s boldest track ‘Vienna’, which displays impeccably tight melodies that lie at the heart of the group’s polished sound.

The London-based crooners have fused ‘60s harmonies, ‘70s theatrics, ‘00s pop and contemporary indie which gets under the skin and keeps you coming back for more.

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3.7 / 5

4.0 / 5

FLYJACK Pan Am After the success of 2020’s ‘Soul Catcher’, Flyjack return with their latest installment of vibrant funk.

Throughout the course of these nine tracks, the band once again demonstrate their knack for letting instrumental talents shine.

Best displayed in ‘Can’t Catch Me’, the band revolve lead instruments, transitioning between trumpet, guitar and saxophone, chasing the ‘solo’ spot in an almost tag-like fashion and conjuring images of energetic and dynamic live shows.

‘Pan Am’ stays true to the band’s mission to revitalise an underappreciated era of music, and remains a great listen for any fans of funk and musicianship.

Words by Ruri White

4.1 / 5

MC SALUM Crocodile DD

HANYA 100 Metre Sprint HANYA have solidified their ones-to-watch position in UK dream-pop, with a delightful dichotomy of delicate guitar riffs, and beefy rhythm sections, matched with airy yet powerful vocals.

Lead single ‘Fortunes’ is a dreamy swirl of unexpected instrumental quirks, while ‘Texas’ displays the band’s understated, yet complex sound. However, it’s ‘Logan’s Run’ which is the stand-out track. Its soft introduction is suddenly undercut by dense and strong guitars, with the lyrics and powerful instrumentals combining to construct a real sense of journey for the listener.

‘100 Metre Sprint’ showcases HANYA’s impressive versatility, as they have avoided the traps of modern dream-pop by retaining unpredictability in a crowded genre, whilst achieving a modern and fierce sound.

Words by Jenny McDowell-Langford

Words by Jack Parker

Playful, fun and heartfelt, Dundee rapper/producer MC Salum delivers personality and flair on his debut album.

Flitting between hip hop, pop and UK rap, Salum shows versatility and talent, encased within an intriguing statement of intent. The successes on the record are also the most reflective as songs like ‘In Red’ and ‘Crocodile Tears’ question the pitfalls of success at the cost of time and relationships.

This is just the beginning for the Scottish artist, with ‘Crocodile DD’ cementing him as an exciting and impressive emerging artist.

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BENJI PATTERSON FOLLOWING IN FAMILY FOOTSTEPS, BENJI PATTERSON IS A FRESH INDEPENDENT ARTIST COMING HOT OUT OF LA. FROM ‘ICARLY’ INTROS, TO TIKTOK TRENDING, HE’S CARVING OUT HIS OWN PATH. WE CAUGHT UP WITH BENJI TO TALK LEAPS OF FAITH AND LOFTY AMBITIONS.

Your latest single ‘The Unknown’ reflects on self-doubt and pursuing your dreams. What inspired this track?

was his way out. It’s a song about different journeys in life.”

“‘The Unknown’ is about my life over the past few years, having dropped out of college to pursue my music career. Everyone faces fears about the unknown. ‘What if I do this? What if this happens?’ That’s what I’m going through as an artist right now. It also includes my dad’s journey. He grew up in the hood. One day his father gave him $40 and dropped him off at college to get his music scholarship. That

You played your first live show earlier this year, supporting The Bots at LA’s The Echo.

How’d it go?

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“I was so hyped! Performing, for me, is about making sure everyone is having a great time, no matter who is there. I opened the show with the ‘iCarly’ theme song just to break the ice, and to do something that people would remember. You’ve got to have fun and

let people leave their problems outside. I’m happy to put myself in a vulnerable state to make it fun for everyone. Getting to play with The Bots was cool, I’ve been friends with them for a while and was always inspired seeing them tour the world.”

Your dad toured with the likes of Whitney Houston, Michael Bolton and Peter White.

What impact did he have on your interest in music?

“I grew up listening to my dad playing his own songs on repeat in the car, and I never understood why. Now I can see that he was assessing everything, making sure the pitch was good, analysing the lyrics. That’s left an impact on me. But I didn’t take to music at first. I was one of those kids that instinctively rebelled. We have a great relationship now though. Both my mum and my dad are super inspiring to me. They grew up in places where I would not want to have grown up, and they’ve given me such a great life.”

You’ve reached a lot of people through TikTok. What brought you to that platform?

“At that point, I was an artist who had been releasing music for almost four years and seeing no growth from platforms like Instagram. Conversion is a big thing for me.

My manager wanted me to tour high schools and sing for them. I told him I’m up for whatever, but I wanted to do something that I knew would convert. TikTok was just starting out. Back then it wasn’t as community-based so I thought I’d try it. The first viral TikTok I made was a video just telling people about my story.”

What does success in music look like to you?

“For me success means I’m happy with my music, in terms of the writing. A lot has changed in the last three months for me as a writer. Before, I didn’t really understand how to tell a story. I’ve been trying to find myself in

music, and I do believe that has improved a lot with my latest work. Right now, I’m working at an airport loading planes for Delta Airlines, but I’m going to continue to build my team and eventually go on a world tour. Life’s going to be a crazy journey for me, but I’ll get there.”

What’s next for BENJI PATTERSON? “The album is done! I just need to work out the distribution. It’s so frustrating as an independent artist, battling algorithms and worrying if your work is even going to get seen. There’s no release date for the album yet, but expect more music soon. As for touring, I want to tour Europe. I have a big monthly listener following in Norway, so really I’m just waiting for the travel restrictions to end. But, watch this space. I’m going to that next level.” •

BENJI PATTERSON has new music arriving very soon. In the meantime, keep your eyes peeled for the world tour.

Words by Laurence Kelly Photos by William Colelanders

Our team have put their heads together, fought it out, and settled on our highlights-in-hindsight, since LICKS #3.

Let us know @LICKSmag what you think of our hit list from the last three months in music.

BEST VIDEO

BEST DEBUT

LIME GARDEN ‘CLOCKWORK’

HONEYGLAZE ‘BURGLAR’ London’s Honeyglaze have waltzed their way into the indie scene with lo-fi, solemn soaked ballad ‘Burglar’, which invites you to climb into their dreamy world of gloomy vocals, delicate drum fills and swooning guitars. We eagerly await more from this supremely talented trio.

The music video for Lime Garden’s anthem of existential crisis follows a despondent grandfather clock trapped in a life of cyclical mundanity. If anyone asks it was the layered metaphors that won us over, not the dancing clockheads being really, really fun.

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BEST SINGLE

BEST COLLAB

BUGGS ‘FLAWS’

LITTLE SIMZ FT. OBONGJAYAR ‘POINT AND KILL’

Likened to The Breeders and The Beach Boys, charming surrealists Buggs get introspective on new single ‘Flaws’ as they sway through topics of anxiety, insecurity and paranoia. For fans of overthinking, trepidation and self-sabotage.

BEST ALBUM PRIYA RAGU ‘DAMNSHESTAMIL’ Cementing herself among the best emerging artists of 2021, Priya Ragu’s debut mixtape was filled with flair, versatility and cultural pride. A melting pot of genres and influences, ‘damnshestamil’ is one of the most accomplished debuts we’ve heard in a long time.

Tapping into her Yoruba roots, London-based UK rap royalty Little Simz collaborates with cousin Obongjayar and producer Inflo to deliver ‘Point and Kill’, a wonderfully layered and masterfully produced track, with stunning accompanying cinematics to boot.

BEST SHOW FEET SHACKLEWELL ARMS Coventry’s own FEET ripped up this Monday night in our favourite Hackney watering-hole. Any fears of a subdued, post-lockdown atmosphere were uproariously quashed by crowd-surfers, stage-divers and a set packed full of indie-bopper catnip including ‘English Weather’, ‘Ad Blue’ and ‘Petty Thieving’.

Words by Jack Parker

KILLS BIRDS LA Rockers Kills Birds’ intense, punk-laced tracks caught the eye of Dave Grohl, leading to a coveted support slot on the latest Foo Fighters tour, and keys to the frontman’s studio. We sat down with Nina Ljeti (vocals), Jacob Loeb (guitar) and Fielder Thomas (bass) to talk sophomore LP ‘Married’.

Where did ‘Married’s journey begin?

Nina: “We had already started experimenting with songs like ‘Rabbit’, but the majority of the record came together during COVID. The opportunities we lost in that time were a shame, but we got past that and set our sights on recording the album. Dave Grohl opened up his studio to us, which was sick! Sadly, our show with Foo Fighters was postponed until March, but we are still touring with them in December!”

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How does the record compare with your previous work?

Fielder: “With this record, there was a huge step up in maturity for us. Not just musically, but also as humans. We take things much more seriously. We are now pushing ourselves beyond just making a track ‘good’. We ask ourselves, ‘what else can we do?’ and try to take things further. Compared to the first record, it’s still Kills Birds, but refined. A level up.”

“Compared to the first record, it’s still Kills Birds, but refined. A level up.”

Are there any artists you credit with influencing your sound?

How do you recreate the intensity and energy of your songs live?

Nina: “The ‘90’s alternative music influence is undeniable. Nirvana, Pixies, Sonic Youth.

But, we all come from different genres, and all those elements can be heard.”

Jacob: “Fairly seamlessly, because we don’t rely on studio or production trickery. We make sure our records capture our live sound. That could always change in the future with more experimenting, we will have to see. Our music is led by Nina’s chaotic lyrics, which drive us to write music that is innovative, within our minimal instrumentation.”

Fielder: “Yeah, I feel like we all have these similar musical interests, but also these peripheral genres that all come together and work really nicely.”

What does the songwriting process look like for Kills Birds?

Nina: “The band started with Jacob and me getting together to work on music. I’d bring the lyrics and he’d bring the instrumentals.

That’s still often the case, but it’s not exclusive anymore. We used to write disco and R&B songs, and then we thought, ‘Oh let’s write a song we would actually want to listen to’. That song ended up being ‘High’, from our first record.”

Jacob: “‘PTL’, in particular, went through a crazy journey before getting on the new album. We had been working on it for a while, and we had a sort of blueprint laid out for the song when we went into the studio. But, the version we have now has changed a lot; I think there are four or five different versions. A truly experimental process. And, the song goes over great live!”

Nina: “With the exception of ‘PTL’, all the new songs come from a personal place. I think ‘PTL’ is the first song we’ve ever worked on that is totally unrelated to our lives. Instead, it touches on topical subjects, like churches that exist for profit.”

Fielder: “Our new record is going down very well live. ‘Natalie’ gets a great vibe especially. I’m so ready for people to start a circle pit during ‘Volcano’, but it hasn’t happened just yet!”

What can we expect next from the band?

Nina: “We are coming to the UK next May, which I’m so stoked for. We play a couple of shows in Europe then too. There are a few more things in the pipeline that we will announce soon, and we are already starting to think about and work on the next record, so it’s all very exciting!” •

You can stream the new Kills Birds album ‘Married’ now on the usual platforms.

Words by Callum Crowe Photo by Cheryl Georgette

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Corset and Jacket by Rickielee Drayford Trousers by Adam Frost

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Breaking out of the binds of genre, and gender, progressive performance pop outfit Walt Disco are fun, flamboyant, and before everything just ‘six best pals having the pretty damn best time’.

We caught up with the ever effervescent James Potter on the evolution of the band’s style and sound, their ‘80s inspo, and the process behind curating goth-pop bangers for the ages.

There’s a real theatricality and sense of drama to Walt Disco’s music and shows, what inspired this unique performative approach?

“We take a lot of inspiration from actual dramas and musicals, as well as artists who embrace a lot of theatricality. I’m obsessed with performers from the golden era – Grace Jones, Doris Day – the way they delivered songs is just so mesmerising. And, from music performances in films too, because they have that need to get as much emotion out of the listener as possible. Whether we’re on stage, or in a tiny wee bedroom studio, we want to create a moment.

“We have a track called ‘Macilent’, and we’ve started doing this unhinged wave move every time we play it live. Half the audience started doing it with us when we supported Duran Duran. Something like four-thousand people joined in, and it was just absolutely mental.

Simon Le Bon actually watched our set from the side of the stage. I gave him a hug at the end of the gig, forgetting that COVID was still a thing. I remember panicking and thinking, ‘I might have killed Simon Le Bon’. Luckily, I apologised and he didn’t seem to mind, but the whole set was an absolute whirlwind. One of those moments where I felt Walt Disco were onto something really special.”

You’ve been referenced as part of the ‘Glasgow new school’; a city with such a rich musical history, does that offer pressure, inspiration or both?

“Oh, definitely inspiration. We’re so influenced

by Scottish bands from both decades ago and now. Young Fathers are one of our favourite modern artists, and then there are bands like Simple Minds, The Blue Nile, The Associates, that are just completely timeless, or out of Glasgow, there’s Cocteau Twins. It feels so nice to be a part of the heritage of Scottish bands.

“It doesn’t help that I have such an English accent though. My parents are English, and I moved to Scotland when I was six, so I never really picked it up. But I feel Scottish! And, as much as everyone likes touring in England, it hasn’t made me feel any more English. If anything, the opposite. I guess the middle ground is just Great Britain, but that might be even worse.”

You’ve been described as having “one foot in the ‘80s, and the other in modern indiepop,” what inspired this combo?

“I guess we’ve always been drawn to the flamboyance and glamour of the ‘80s. It just sort of does things to me that no other era of music does. When someone who was very much alive in the ‘80s and went to see all these bands comes up to us at the end of the gig and says that they enjoyed the set, that’s the best compliment. It’s pretty cool that people can hear those elements in our sound and tie us to an era we all love.

“But, for the most part, I’d say we don’t belong to a specific genre. And that’s the kind of way we all like to identify as a band. A sort

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Shirt by Bougie Studios Trousers by Rickielee Drayford

of genre-bending pop extravaganza with all of our various different influences thrown in for good measure.”

Your single ‘Weightless’ is gender euphoria marvelously personified. Is it difficult to candidly write about your personal struggles?

“I don’t find the writing part difficult, but sometimes it’s tricky coming to terms with them being out in the world, or speaking about things openly in interviews. But, the writing of it was so cathartic and therapeutic, it often helps me have the conversations that I need to have with myself. Interestingly, we’ve been opening with ‘Weightless’ at recent shows, but last night we tried moving it back so I had time to speak about it before and it definitely went down better. It felt more like a moment.

“I think a lot of our followers and friends, as well as us, feel like ‘Weightless’ is definitely the strongest work we’ve put out so far both in terms of the song itself, and the fact we produced it ourselves, which we’re stupidly proud of. But, also, in how it translates on stage, and in the video. It definitely feels like a statement of intent. I’m sure you can tell, but the video was heavily inspired by ‘The Lord of the Rings’. I got proper into it and was directing everybody about during the dance bits. If you look closely, you can probably see my mouth moving. I thought I was Peter bloody Jackson!”

Can you tell us more about how the new music all came together?

“So ages before anything became ‘Weightless’, I’d made a wee electronic demo that lived in our Google Drive for years. Then, during lockdown, our manager reached out and asked us to have a rifle through all of our unfinished songs to see what had potential.

We all really liked this one titled ‘1-19-C’ because of the electronic rhythms, but it had no guitars or even much of a structure, so we

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“The writing of it was so cathartic and therapeutic, it often helps me have the conversations that I need to have with myself.” went back in, jiggled it all about, and gave it some vocals.

“We played it to everyone like that but one of our mates said we ‘didn’t sound much like a band’ without guitars, so Dave and I just went upstairs to our bedroom and recorded some heavy-as-fuck, almost American-metal style riffs, and it all just slotted into place. It wasn’t planned at all.

“I still like listening to it now which says a lot I think. I find it quite hard to listen to a lot of the songs we’ve released because I’m just pulling them apart and thinking about all the things I’d change. But with ‘Weightless’, I think we just got it right. Pats on the back all round.

Weirdly, I think a lot of that was a credit to lockdown, and the kind of chaotic way we had to work. It forced us to reach back into a lot of our old material because we couldn’t record many new instruments, so we were working with these huge electronic mood boards instead and building up the layers from there.”

So a much different creative process from your earlier ‘Young, Hard & Handsome’ EP? “‘Young, Hard & Handsome’ was more of a collection of songs that we wrote at different times, played live a bit, and then decided to fit quite nicely on an EP together. It was a lot more systematic. We recorded live drums first, and then everything else after, kind of like we used to record, so it actually was pretty fun this past year being forced to make music in a new way. We still wanted to be creative during that time, so we just needed to find

Top stylist’s own Dress by No Dress

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Dress by The Ragged Priest Tights by No Dress

“Something like wearing a dress, it’s not going to change the world but maybe it’s going to change one person’s opinion.” out what worked. And honestly, it worked out pretty well. It’s been super fun on this tour playing the new material and seeing how it works with the older stuff. I think you can really trace the different eras of Walt Disco.”

Walt Disco’s style has really evolved alongside its sound. How has your relationship between fashion and music developed?

“Something like wearing a dress, it’s not going to change the world but maybe it’s going to change one person’s opinion, you know? We try to express ourselves through fashion just like we do with music and show people something about us through the way we dress. Dressing rooms used to be a place to just chill out and drink tinnies, which we still do don’t get me wrong, but now we all get ready together and borrow each other’s make-up.

“I actually did an outfit change in Edinburgh the other night which was really fun. A lot of my favourite artists have always pushed the boundaries of the live show – St. Vincent, David Bowie, Grimes – so I think it’s really important for us to keep evolving and exploring what it means to ‘perform’.”

What does making ‘pop music’ mean to you in the modern-day?

“I think what’s amazing about pop music is that scope to be creative. You’re confined to a relatively short space of time so it forces you to really think about exactly what you want to say and how you want to say it. At the minute I’m obsessed with just piling hooks on top of

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each other, not just necessarily in a chorus.

You can get really experimental with what the sound is doing. I also think pop music reaches the largest audience, especially important if you have something you want to say – which we always do!”

I always find myself coming back to fan favourite ‘Cut Your Hair’, what’s the story behind the song? “‘Cut Your Hair’ was written as a wee fun jibe at people who make comments when they walk past you in the street. It’s like, ‘well, how much fun are you having?’ I lived in a village when I was younger and I remember the funny looks, then I moved to Glasgow and it might have got even worse. Luckily it doesn’t bother me half as much as it used to. You can’t escape these kinds of people so you just have to keep on walking. Keep on growing out your hair.

You know you’re having a better time than they are!”

Finally, if 2020 was the year for working out the band you wanted to be, and 2021 evolving the live show, what on earth does 2022 look like?

“We’re going to be touring several countries, and the new music will be flowing! That’s all I can say for now. But hopefully just world domination. Playing stadiums, stuff like that.

Or just venues where there’s enough room for outfit changes! Playing Barrowland Ballroom would be a dream, but that’s a boring answer for a Glasgow band. I know we’ve got a date for Scala in London next year which is super exciting though. I think that’s the 20th of April. Cheeky plug. See you there!” •

Walt Disco’s new single ‘Macilent’ is out now and you can see them play it live on their European tour in spring 2022.

Words by Olivia Stock Photos by Hannah Driscoll Styling by Toby Corton Assisted by Rickielee Drayford

EN G LIS H T E AC H ER LILY FONTAINE, SINGER OF THE LEEDS FOUR-PIECE, TALKS US THROUGH CANDID LYRICISM, CONNECTING WITH LISTENERS AND A YEAR OF BUCKET-LIST TICKING.

Can you tell us about English Teacher’s beginnings?

“We all met at university. A couple of us formed a band called Frank, but after a while, we switched up the members and created a new sound forming what you now see as English Teacher. What started out as mainly my project changed as we started writing more together. We discovered that we were very compatible, especially with the type of music we wanted to create.”

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Are you inspired by any particular acts?

“I think we all have quite similar musical tastes, and those artists all influence what we create. We love artists like Black Country, New Road, Sorry, and Sonic Youth, to name a few.

Really, any bands who indulge in lyricism and poetry pique our collective interest.”

You released ‘R&B’ which challenges racial stereotyping and feelings of imposter syndrome. Why do you think it has resonated with so many people?

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“We were honestly surprised that it did to such an extent. It’s a very personal track as it’s about a particularly difficult situation for me. Perhaps it resonates so widely because others have found it relatable. A lot of our music is quite symbolic in terms of lyricism, like in ‘Wallace’, whereas ‘R&B’ is straighttalking. I don’t think it needed to be buried in symbolism.”

In a year full of live shows and festivals, what has been the biggest highlight?

“Leeds Festival was equal parts incredible and overwhelming, as it had been on all of our bucket lists for a long time. In general, we have felt so lucky to perform on loads of smaller stages around the country. They give much more opportunity to communicate and interact with audiences on a personal level. That’s what we love most, and results in our best performances. So on that basis, I think a personal standout for me would have to be playing YES in Manchester for three consecutive weeks.”

“I only ever put lyrics out if they mean something to me, and have had a lot of thought and time put into them.”

What does creating music mean for you?

“For me, the band acts as a vessel for my passion for writing. The most important thing to me, and the thing I am most proud of, is being able to put my favourite pieces out there for people to see, even if they aren’t everyone’s cup of tea. I only ever put lyrics out if they mean something to me, and have had a

lot of thought and time put into them.”

Where do you see the band this time next year?

“I think we’d all like to be working towards an album. It would be great to have a collection of eighteen to twenty songs that we can call on whenever. Now that we can tour again that’s definitely something we have in mind too. Once that’s out, headlining Glastonbury is a must, obviously!” •

English Teacher’s latest single ‘Good Grief’ is available to stream via all the usual channels.

Words by Ruari White Photos by Sara Carpentieri

Credit: David Fearn

S SU UR RF FB BO OR RT T BALANCING SINCERITY WITH SILLINESS, NEW YORK QUINTET SURFBORT’S BRAND OF PUNK DITCHES ANY SEMBLANCE OF SUBTLETY FOR A HEART-ONSLEEVE HEADFIRST DIVE INTO WHATEVER LIFE THROWS THEIR WAY. FRONTWOMAN DANI MILLER JOINED US TO TALK NEW ALBUM ‘KEEP ON TRUCKIN’’, THE GROUP’S DEBUT EFFORT.

“‘Keep On Truckin’’ was inspired by the happenings of the world”, begins Dani, “it’s a reaction to crazy things happening. It’s cathartic, a way for us to release our angst and connect with people.” And that connection is certainly embodied throughout this cohesive collection of tracks, which feel like a rallying cry to the despondent and the outcast, that things are going to get better.

An encounter with musician, songwriter and producer Linda Perry is what really set the wheels of ‘Keep On Truckin’’ in motion for the band, completed by punk veterans, guitarists David R. Head Jr, Alex Kilgore and drummer Sean Powell.

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“We were so fortunate and so lucky to run into Linda Perry and she kind of connected the dots for us. Ever since we put out our EP ‘Bort To Death’, in 2017, we’ve just been writing songs non-stop, but we didn’t really have a place to put all our energy. So, we linked up with Linda Perry. We had like one-hundred songs, and we went through and picked the best ones for the album. The record is influenced by tonnes of badass women from the ‘80s including Debbie Harry, Kathleen Hanna, and X-Ray Spex; Poly Styrene is like the coolest person on the planet.” Drummer Sean Powell chimes in to mention Roger Miller, The Cure and early Psychedelic Furs as other influences.

“THE LITTLE TEXTS I GET FROM DEBBIE [HARRY] ARE SO BADASS, THEY KEEP ME GOING.”

There is a surprising air of optimism woven throughout ‘Keep On Truckin’’ with lyrics such as ‘you don’t have to feel the same way as you did yesterday’, and ‘nothing’s gone my way today, but it’s OK’, providing a new selection of mantras for us all to employ going into another long winter with the everpresent pandemic still looming.

Miller explains “I’m bipolar and get super manic depressed, so sometimes I can get stuck in depression or stuck in a really gnarly mood, and I’m like ‘wait I can break out of this’. You can change perspectives and you can get out of it, there is a way to get out. I want to send that message to really intense people, be it racists, or just people losing their mind over shit. I want to send that message to those people, that you don’t have to be stuck in a hateful mindset. You can change.

With the lyric ‘nothing’s gone my way today but I’m OK’ I wanted that to be something you could scream in your car on the way to a shitty event, or a shitty job, to get all the angst out, because that freaking happens on a daily.

Stuff goes wrong and you kinda just end up smiling and laughing, like what the hell, life is a joke and life is weird.”

Since their inception, Surfbort have had some high-profile fans including several members of Blondie, Julian Casablancas and even Gucci’s creative director Alessandro Michele.

“Support like this means the whole world, because I didn’t come from a situation where I’m super connected to the music scene. I just learned by myself, and then I purely connected with these people from doing art, so it’s been so inspiring, and so freaking cool. I became like best friends with Debbie [Harry] and Chris Stein from Blondie. The little texts I get from Debbie are so badass, they keep me going.

The music industry is so intense, especially for punk and freak music, so getting support from Gucci and Alessandro was really important for me to just keep on going. I once worked five different jobs at the same time, so being able to survive by just being a freak and creating art is life-changing.”

Credit: Raz Azraai

“I WANT TO SEND THAT MESSAGE TO THOSE PEOPLE, THAT YOU DON’T HAVE TO BE STUCK IN A HATEFUL MINDSET. YOU CAN CHANGE.”

“Honestly, I’m kinda grateful I wasn’t born rich”, Miller adds. “No offence to people that were, that’s also super tight, but I’m glad I wasn’t born connected or born fully comfortable in myself. This whole discovery and road I went on, all this happened at the right time and for a reason, so yeah, I’m just stoked for that, it’s way cooler this way.”

Another advantage of being in a successful band is the friendships that it can help develop, something that Dani is particularly passionate about. “This is all about music and friendship. Before this, I had a couple of good friends, but now I have friends in every city, every corner of the world and it’s just such a supportive, awesome scene. You can just be a total freak. Music isn’t really about the person on stage, they’re making it, but it’s not really about that. It’s more just about everyone coming together, letting out their angst, connecting, having a blast, letting out all their frustrations.”

Speaking of frustrations, putting yourself out there in an aesthetically radical punk band in 2021 is fraught with the risk of online trolling, something that Dani is only too aware of, “TikTok is crazy, there are so many haters on there. It’s hard to come through all the haters, but I know the best way to fight them is just to kill them with kindness. It’s way better living as yourself than trying to change for the haters. It’s a weird world and, honestly, there’s always gonna be crazy-ass haters, so it’s best to shine bright and let them keep walking along, doing their thing and being miserable.”

Aside from helping the haters of TikTok, Surfbort have a busy few months lined up

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supporting The Garden and Starcrawler on their US tours. “I’m so excited to be going into touring. The Garden have been my number one freakazoids forever. Their music is so refreshing and fun, so I’m really excited for that. And we just added Starcrawler, they’re my best friends, I’m really excited to start the tour and to get out there and hang with everyone. It’s gonna be rad.”

Ending the interview on a typically uplifting affirmation, Dani sermonises, “If you wanna start a band or do your art then go for it and just hit the ground running, because really cool and magical shit can come out of it. No matter what you’re into, just freaking go for it. Follow your heart. Even if it takes a day, a week, a couple of months, a couple of years, you’re gonna get out of the shitty, horrible, end of the world feeling. Things beyond your wildest dreams will happen in the future, even if it doesn’t seem like that.” Showcasing that Surfbort truly are some of the nicest punks around, and ensuring that everyone feels confident, uplifted, enabled to be themselves and keeps on truckin’. •

You can find the weird and wonderful ‘Keep On Truckin’’ now on all good streaming platforms.

Words by Katie Hubbard Photos by Alexis Jade Gross, David Fern and Raz Azraai

Credit: Alexis Jade Gross

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ISSUE 4

TASTE IN MUSIC

WALT D I S CO ENGLISH TEACHER • SURFBORT • KILLS BIRDS • BENJI PATTERSON

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