LICKS Magazine - Issue 3

ISSUE 3

TASTE IN MUSIC

KENNYHOOPLA ISLAND • MERPIRE • STRANGE BONES • MALADY

£4 / $ 6

REBEL FOR LIFE Join the Rebellion 23 August extinctionrebellion.uk/ next-uk-rebellion

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ISSUE 3 LETTER FROM THE EDITOR Welcome to LICKS. As the world begins to take further steps towards normality, it seems fitting that the artists in these pages have inspired conversations of openness, purpose and growth.

None more so than our two wonderful cover artists. Eliza Shaddad speaks earnestly of empowerment, womxn in music and pouring honesty into her beautiful new album, ‘The Woman You Want’. While sure-to-be breakout artist of 2021, KennyHoopla talks candidly about vulnerability, graduating from basement gigs to international tours and ambitions beyond music.

As always, I must give a huge thanks to all of the team behind this latest print. Their hard work and enthusiasm has carried us across nine hour time differences, and covid-secure photoshoots in LA and London, to bring you a fantastic mix of international artists. We’ve also been busy booking our first in a long run of live shows in both the UK & the US. Keep your eyes peeled on @LICKSmag for more details.

I’ll also take this opportunity to highlight two causes important to us. We’ve found Extinction Rebellion’s unwilting fight against climate change truly inspiring, and we believe the clear anti-war message from Musicians Without Borders is as crucial as ever. Please take some time to view each cause and better understand their invaluable work.

Right, that’s enough from me. If you like the magazine let us know, tell a friend and stay tuned to our website for fresh articles, new interviews and gig updates. If we don’t see you in the crowd, we’ll be sure to see you again for another print this autumn.

Jack Parker Editor-In-Chief

LICKS TEAM CHIEF-EXECUTIVE-OFFICER

EDITOR-IN-CHIEF

WRITERS

Jacqueline Scripps

Jack Parker

Callum Crowe Chris Prentice Dan Flood Jack Parker Jenny McDowell-Langford Katie Hubbard Laurence Kelly Lily Blakeney-Edwards Ruari White Sabiyha Rasheed

BUSINESS DIRECTOR

EDITOR

Richard Hannan

Dan Flood

ART DIRECTION & DESIGN

CONTRIBUTORS

Meghan Weale

Aaron Watts Ana Strutt Camille Bagnani Tallulah Webb Zuri Vasquez Bedolla

COVER PHOTOS

Hannah Driscoll (Eliza Shaddad) John Liwag (KennyHoopla)

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.

ISLAND

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In a year with nothing but time, alt-rockers ISLAND walked, not ran, toward finishing new album ‘Yesterday Park’ with the help of producer Mikko Gordon. We sat down with Toby Richards (drums) and Jack Raeder (guitar) to hear all about the making of their sophomore record.

When did the album start to come together?

Toby: “We came off tour towards the summer of 2019 and started writing, if very slowly.

We thought we’d take some time to chill, and we were just playing casually. So, I suppose it came together towards the end of 2019 luckily, we had demos for the whole record by March 2020.”

How did recording over the last two years affect the process?

Toby: “We spent the whole of the first lockdown working on references for production.

We speed-dated producers over zoom, and formed a relationship with Mikko Gordon.

Weirdly, we committed to working with him before we’d even met him. We got really geeky and started making spreadsheets on what we were going to do with the songs. If it weren’t for Covid, we never would have done that, so it was a little blessing in disguise.”

Jack: “Without that pause, we would have just dived straight in and started recording.

But we had time to talk to different people about the record and be planned, rather than like “shit we’ve got a deadline”. It did kill our dreams of recording in a Scandinavian chalet, though.”

What was it like working with producer Mikko Gordon?

Toby: “It was a refreshing new method for us.

Mikko is very much a crack the whip, efficient, no pissing around, don’t sweat the small stuff kind of guy. He knew when to get involved and when to step back and let us do our thing.”

Jack: “We were getting too close to our songs. We couldn’t see the wood for the trees. It’s useful having someone who can take a step back and think about wider things.”

Toby: “He basically got the metaphorical scissors out. He was ready to tear it apart.

When we were first making music, God, like ten years ago, we were writing seven-minute songs and everyone was always telling us we needed a radio edit. Now, it’s more like “shit, it’s only two minutes long. What do we do with this?”

How does ‘Yesterday Park’ compare to your previous projects?

Toby: “As an artist, you always think that you’ve developed your style hugely, but everyone else is like “it sounds like you guys”.

In terms of production, we used to replicate what we do live with nothing extra, almost like a live session. With ‘Yesterday Park’ we were open to experimentation. The theme of the album is heavily based on nostalgia and a lot of influences came from nineties hip-hop. We were trying to bring in new elements to the beat and open our world a bit more to not put us in a box of guitar music and delay pedals, which was our old trick.”

Jack: “It was freeing to open up those new options. We’ve never had keyboards before, it was mental, but that’s the norm for most bands. We experimented by bringing out the things we liked the most in the songs, rather than completely stripping them down and rebuilding.”

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Did having gigs put on hold affect work on the album?

If ‘Yesterday Park’ could soundtrack any movie, what would it be?

Toby: “We knew we wanted to make more of a studio album anyway, so we were trying not to think about the live show this time. We haven’t even played the songs since we recorded, so who knows what they’re gonna sound like. Weirdly, with the songs we’ve released so far, people have said we sound more like the live show than before. Maybe by adding these things it’s beefed out the sound, which is me arrogantly assuming that we sound beefed out live.”

Toby: “A film set in the mid-nineties would be cool, starring Ryan Gosling.”

What were the influences driving the new record?

Toby: “When we got into our geeky spreadsheet phase, we were referencing the hell out of production, trying to capture specific moods. For example, ‘Everyone’s The Same’ is one of our heavier songs. One of the references for the feel was ‘My Name Is’ by Eminem, because of the delivery and swagger of it. We wanted to take that and mix it with other influences to make something unique.”

The opening of ‘Yesterday Park’ is quite light-hearted, and, as the album progresses, it becomes more melancholic. Was this intentional?

Jack: “We wanted to become more emotive with this album, but we didn’t want to lose the energy, so we had to push it through with songs like ‘My Brother’ towards the end. I wonder how many people listen to an album on Spotify, not on shuffle. Hopefully, people are sitting down, with headphones on, listening to the album from start to finish, doing absolutely nothing else.”

Toby: “We make track lists a bit like we make live setlists. We want to hit the listener with something and then take them somewhere else.”

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What would you like listeners to take away from the album?

Toby: “The right answer would be that we let people decide what they want to take from it.

But, it would be cool if people understood the diverse range of sounds going into it.”

Jack: “It’s got loads of moods, so it would be nice if it became a part of people’s lives as things go back to normal. It’s weird watching the Spotify streams tick up and knowing everyone’s sat at home doing nothing. Maybe someone’s going for a run, that’s it.”

Are you excited to be touring again after such a long break?

Toby: “Definitely. People’s reactions to the songs have all been through Instagram which isn’t the same as seeing it on their faces when you’re playing it live, or talking to them at the merch table.”

Is there anything else you guys would like to mention or brag about?

Jack: “When is this out? Let’s assume the album is out. Our tour is completely sold out, so you can’t come… Help us reach the tenth consecutive week at number one.”

Toby: “We’re working on the third album in Finland and about to soundtrack the new Ryan Gosling film.” •

ISLAND’s anthemic new album, ‘Yesterday Park’, is out now.

Words by Jenny McDowell-Langford Photos by Christian Cargill

ISLAND

TASTEMAKERS WITH

RADIO

Amazing Radio is where talent gets noticed so we asked three of their finest DJs to share the most exciting new music on their radar.

to make old-school soul vibrations sound new, while making his new-school R&B sound universal.

V. M A RC FORT AUST IN , TX SUN.’ S AT 8PM ET / 5P M P T

LEON BRIDGES - ‘GOLD-DIGGERS SOUND’ The southern soul singer’s new album is actually named after the recording studio in Los Angeles where he decamped over the last few years to record. On ‘Gold-Diggers Sound’, Bridges continues to reinvent R&B with a new sincerity, complete with his Sam Cooke-influenced cool, slicing and dicing through modern beats and sensibilities. Lead single ‘Motorbike’ is a perfect example of Bridges’ ability L IC KS M AGAZI N E

BOBBY SESSIONS – ‘MANIFEST’ Dallas, Texas-based rapper-songwriter Bobby Sessions has crafted a poignant, powerful album, which stands above the glut of wannabe trap rappers that overflow the pop market.

‘Manifest’ sees old school boom-bap bounce mixed with twenty-first century activism and conscious rhymes. It’s an album from an artist on a mission to uplift the entire African-American community through artfully crafted hiphop that demands social justice for oppressed peoples worldwide.

JONNY JUKEBOX FT. THE TEETA – ‘TROLL PATROL’ The latest single from Austin, Texas-based rapper and R&B artist Jonny Jukebox, ‘Troll Patrol’, is infectious. Self-released locally last year, the single will be part of Jukebox’s full length debut, which he cryptically continues to tease will drop “very soon”. Perfectionist tendencies be damned. ‘Troll Patrol’ straddles rap and R&B with grace, a little humour and the kind of songwriting that would lead you to believe Jukebox is an old school, Motown Records burn-and-churn songwriting vet.

TO BI LYN N

IND IAN AP OL IS , IN TUES .’ S @ 7PM ET / 4P M P T MYSIE – ‘UNDERTONES’ Mysie (pronounced My-zee) has released her latest work ’Undertones’, producing an EP which is simultaneously delicate and decadent. She’s an artists who is laser-focused on her musical craft. This talent was brought to the forefront when Mysie was selected for the prestigious Ivor Novello award in the inaugural Rising Star Award category. Keep your eyes and ears peeled for this talented artist on her ascent.

DAN CROLL – ‘ON TOP’ In my opinion, Dan Croll is an indie-pop genius. He consistently cranks out the sweetest of songs which deliver depth and soul, and a little something for your toes to tap to. His latest EP, ‘On Top’ was recorded at Spacebomb in Richmond, Virginia at the end of 2020. Dan said the title track - which is especially delightful - was written “for all those who support me doing what I’m extremely lucky to do. Just the thought of you can raise my spirits, wherever I am.”

AMOUR – ‘REASON TO STAY’ & ‘CIRCLES’ Amour is the moniker of the super talented young singer and songwriter Lauren Amour.

Lauren started her career singing in school choirs, but her voice is so powerful it needs to be shared with the world. We are catching her at the beginning of what’s sure to be a long and lustrous career. Her lyrical prowess is second to none as proven by songs like ‘Reason To Stay’ and ‘Circles’. She has ascended to the number one spot on both the US and UK Amazing Radio Charts. Mark my words - she’s a star on the rise!

ILLUMINATION ROAD - ‘IT LOOKS LIKE THEY GOT TO YOU (TOO)’ Imagine a band created by four of the most talented, seasoned, in-demand L.A.-area touring musicians, songwriters, and engineers. Put them in a studio out in the desert near Joshua Tree, and task them with creating a track that’s a perfect combination of plugged-in rock, blues, soul and Americana.

‘It Looks Like They Got To You (Too)’ is what you’d get. And, it’s awesome.

M I K E SAVAGE

LO S AN GEL ES , C A F RI. & SUN .’ S @ 3PM ET / 12P M P T DECORATOR - ‘GENTLEMAN’S SWEEP’ I first caught this Los Angeles-based band a few years ago at a sweaty after-hours concert in a furniture store. They were still in high school at the time, and it was one of the most compelling performances I’d ever seen.

Their exciting new EP ‘Gentleman’s Sweep’ is a must. It sounds like Bruno Mars had a jam session with Fishbone and Tame Impala.

LARGE AMOUNT – ‘LARGE PRESENTS THE BOOZE BROS LP’

AMOUNT

Hailing from Yonkers, Large Amount could be the most buzz-worthy hip-hop artist from the area since the late, great DMX. A prolific writer, Large has released four other albums in just the past year. With this ‘Booze Bros LP’, his fifth, he enlisted other noteworthy Yonkers-area artists about to burst upon the scene, including R&B singer Pjay Johnson and rapper Jaenom. This one’s for fans of that oldschool, East Coast, boom-bap hip-hop.

WHERE TALENT GETS NOTICED

amazing.radio L IC KS M AGAZI N E

ma la dy THE LONDON QUARTET’S FRONTMAN, PERCY JUNIOR COBBINAH, DIALLED IN FROM A PARK BENCH IN HACKNEY TO TALK ABOUT THE BAND’S GENRE-SPLICING SOUND AND RECONNECTING WITH THE CITY.

You’ve created a lot of buzz off of your first two singles.

What do you put this down to?

“The algorithms have done us well. I wasn’t expecting ‘London, I Love You But You’re Bringing Me Down’ to get many plays at all.

We’re on a small label (Nice Swan Records) so it’s been a pleasant surprise. It’s nice knowing people are responsive to a song that’s centric to one place and they find meaning from it.

One comment on YouTube read “Belarus, I Love You But You’re Bringing Me Down.”

How would you describe your sound?

“It’s still early days so I hope we haven’t landed on a definitive sound yet, but we’re making our way there. We’re trying to use the guitar-based, indie stuff and add bits from genres like dub, IDM and post-rave to create something that feels

fresh. We have this sound because that’s what we want to hear.”

On days when London is bringing you down, where is your safe space?

Who are influences?

“I like going to Victoria Park or London Fields and just sitting on a bench, or going for walks around Homerton where I live. I find that centres me, especially on a sunny day.”

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“Definitely The Smiths. King Krule is also a big one for me and Charlie [Clark, guitar/ synth]. More recently I’d say artists like Mount Kimbie, Yves Tumor, Burial and Aphex Twin.”

You include experimental samples in your sound.

Where do these come from?

“The production elements are all Charlie. He’s really good at warping sounds.

That’s what interests him the most. Creating something out of nothing.

He let me borrow his field recorder for two weeks so I went to different family homes to see what I could capture. My cousin is on the bridge of ‘London...’ and my little half-brother is the one laughing.”

Words by Laurence Kelly

What’s next for Malady?

“We’ve got some live shows and an exciting support slot coming up, but can’t say too much for now. In terms of new music we want to get another single out as soon as we physically can. In an ideal world, sometime in autumn.” • While you eagerly await the next Malady single, we recommend checking out their latest remix of ‘Famous Last Words’ which is out now.

Photo by Will Reid

STRANGE BONES BIRTHED IN BLACKPOOL, STRANGE BONES HAVE PUSHED THE BOUNDARIES OF PUNK, EXPERIMENTING WITH THEIR SOUND AND PRODUCTION FOR THEIR DEBUT ALBUM. WE CAUGHT UP WITH LEAD SINGER BOBBY BENTHAM TO SEE WHAT ‘ENGLAND SCREAMS’ HAS IN STORE.

When did you start working on the new album?

“It seems like a lifetime ago, but it’s really not.

I started working on ‘ENGLAND SCREAMS’ at the beginning of lockdown, and then had a lot of time to experiment with some mad shit.

So, it spanned most of two lockdowns and has spawned into some sort of devil child.”

How far did you take experimenting with your sound?

“As far as I could. Now I can record, produce and mix everything in-house, I have the freedom and opportunity to experiment with sounds that you don’t get in a commercial studio. I can carry on working until six in the morning which means I can change a bassline whenever the fuck I want. I’m not on anyone’s clock.”

Was it challenging to make an album?

“It’s been just one huge learning curve, since the very start of Strange Bones. I’ve been honing in on my production skills and song writing. I’ve always had an idea of what I wanted the project to sound like, but I was never able to do that justice. I never want to release an album that hasn’t come close to that feeling in my head. The EPs were all about me experimenting, trying to find that sound. ‘Napalm’, ‘Menace’ and ‘Snake Pit’ were the songs that L IC KS M AGAZI N E

gave us direction and unlocked everything.

But, this album is also the result of all that experimentation with the sound coming into one body of work.”

Where does your inspiration come from?

“I feel like I’ve drawn a lot of inspiration from The Prodigy, although when I was writing the album I tried to listen to as little music as possible. I didn’t want any solid, external influence from other artists. If you’re proper into an artist when you’re writing, you end up subconsciously passing that influence into your songs. With this album, I’ve instead drawn influence from film, especially ‘Mandy’. I think I wrote a good few songs after watching that.

We’ve also been inspired by films like ‘The Neon Demon’ and ‘Only God Forgives’.”

What can we expect next from Strange Bones?

“It’s non-stop from now on. We’ve got a tour coming up in August with Calva Louise, which will be a lot of fun. This will be the first time we will have played a lot of the songs so no pressure anyone; just don’t fuck it up.” •

The highly anticipated debut album ‘ENGLAND SCREAMS’ from Strange Bones is out on 20th of August.

Words by Callum Crowe Photo by Mescalitas

m e r p ir e MELBOURNE BASED INDIE ARTIST MERPIRE DISCUSSES HER UNIQUE BRAND OF GUITAR POP AS SHE RELEASES DEBUT LP ‘SIMULATION RIDE’.

Hey Merpire, ‘Simulation Ride’ is out. How are you feeling about your first fulllength release?

“I’m feeling great! Making it has been amazing. There’s a whole story that weaves throughout the album, so it’s nice to share that with listeners. The way I’ve been describing the album is like it’s a video store. There are different genres like a comedy section and a horror section for listeners to discover. Every song comes from different parts of my life, recorded in different places, but there are certain things that carry across every song.”

How have you grown as an artist since you started writing music?

“I formed a band in Sydney who were very psych-rock and that inspired my music for a long time. I wore a black kimono on stage like I was

trying to be Stevie Nicks!

But, it was once I moved to Melbourne, that I started thinking seriously about my sound. Before then, I always just assumed other people would make better decisions than me when it came to creating, because it seemed like they knew better. It wasn’t until I pursued a solo career that I really took control.”

“Once it’s out of my head and made into music, I hope it can help anyone.”

What was the inspiration behind the recent track ‘Village’?

“It’s one of those songs that I go back to when those old feelings of self-doubt crop up, whether related to my partner or in friendship

Words by Lily Blakeney-Edwards

groups or whatever. It’s funny to have your own music become cathartic in that sense. But then again, once it’s out of my head and made into music, I hope it can help anyone.”

What’s next for Merpire?

“I’ve got some government funding to put on my album launch in September. I’m going to try and recreate the idea of a video store and make it interactive! I’ve got one of my friends making an old-school album artwork in the style of 1950s horror movie posters. You know those pictures of disgusting, horrible monsters carrying this sexy damsel in distress?

It’ll be that, except I’m gonna be carrying the monster!

Those old posters taught how women need saving and I’m really interested in flipping that mentality.” • You can listen to Merpire’s debut album ‘Simulation Ride’ now on all streaming platforms.

Photo by rcstills

k e n n y h o o p l a L IC KS M AGAZI N E

k e n n y h o o p l a Swapping versatility for volume, Wisconsin wunderkind KennyHoopla has left behind early electronic experiments to release an EP for the ages. With power, pace, and introspection, he’s delivered a big fuck you to those that write contemporary pop-punk off as a platitude fuelled nostalgia trip, exploding onto the scene with a momentum built so quickly, and so organically, it’s like a fairytale in drop-D. We caught up with Kenny on the launch of SURVIVORS GUILT: THE MIXTAPE// to find out how a diet of solitude, skating and small-town Midwest took the 23 year old from lo-fi bedroom beats, to seven figure view counts – via Travis Barker’s DMs.

On starting out.

“Everyone knows the Midwest emo clichés, but in reality that’s just life out here. It’s people writing about what they know. Escapism and stories of getting out, they run through the veins of small towns, mental health is a big issue too – I think that’s why. When I started making music I was becoming a young man in these places, you know? Everything was weird. There’s a lot of changes happening.

Like, I was trying to become an artist, but also just trying to survive all of that.

“I had friends that were rapping and stuff, so we all just hit SoundCloud, it’s all we really had. I listened to a lot of Fall Out Boy, bands like that, but also Apex Twin, some jungle, a lot of electronic and trance. You can hear it in the early tracks. Like, they’re super choppy but I

was doing what I could to express myself, and to keep it interesting. Giving tracks enough of a shock factor, almost, to keep people hearing what I was saying, especially given the time between the single drops.”

On finding direction.

“With the mixtape, I just wanted to make some fucking rock. It felt like it was needed right now. I needed it, I felt like people needed it. All of us should be using our voices.

“It’s simple, straightforward music and I think that’s awesome. The most fuck you thing you can do right now is to be yourself, to do you and stick to your values, especially in this industry. I know I’m not an amazing artist yet, I’ve got ways to go, but with pop-punk you can do that. You don’t need to be extra

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to stand out, you can be loud, and you can be honest. People see you and it feels valid.

“When I first spoke to Travis [Barker – Blink 182] I said to him, let’s just make some rock.

We made ‘estella//’ the first night. He’d followed me on Instagram one day and we went back and forth until he was in the same place I was, and we just started making music.

I’d sat on that hook forever man, sometimes I just record things acapella before I even think about guitars and stuff, but eventually it all just comes together.”

On live.

“Real choppy man,” Kenny laughs, recalling his early shows, “I was playing at shows of all kinds of genres, putting in the work, climbing to the top of the flyers. You know how it goes, you’ve gotta do your time playing them basements man, you gotta get people to feel you. But, as I climbed to the top of shows, I started getting noticed. I started playing outside Wisconsin, in Chicago and places, still sweating in the basements, and that’s when it started to blow up.

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“I’ve never played a big show, like maybe one, a festival, but really my career feels like it’s all been in quarantine. I have no clue what to expect. Everyone’s like “oh my god, it’s going to be crazy”. I’m just going to ask what people want to hear from me and play it, loud. I’m just grateful, you know, no more pushing through drunk people in tiny rooms. Like damn, the UK is going to be the furthest I ever played, it doesn’t seem real to say that.”

On opening up.

“I’m always like oh yeah, that happened,” Kenny muses, recalling a message to his followers this January gone about needing to take a step back. “I was just overwhelmed, you know. This is all about expressing myself, and I felt like I wasn’t able to say everything I needed to say, through my music. As an artist that’s how people perceive you, through your work, and I was going to sleep every night worried the world was seeing me as someone I’m not.

“I think all the behind the scenes work catches you up, too. I haven’t been doing this forever.

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I don’t have a big team, or the support system a lot of artists have. I’m just trying to do what I can on my own, making sure my work is saying everything I need to say, in a way that people can connect with. It was a big relief just to be transparent with people though, with my fans, and say this is who I am.

“Putting yourself out there can feel humiliating sometimes. Something as simple as singing about a girl makes you worry how you come across. But, you do feel better about it. You hear from people that your stuff has resonated with, and you remember you’re putting yourself out there for them, for the people that have sweated through what you’ve gone through. That’s what makes you want to go crazy on stage, giving them a voice. That’s what this genre, this community has always been about.”

On what comes next.

“My first album. I want to make that thing my masterpiece. Like, something I completely identify with. It’s still going to be big, loud, but loud with direction. It’s all about building

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my career. I want to act, I want to look at real estate, and fashion. Fashion is what I want to kickstart before the tour. For me, the place we’d skate was the heart of Oshkosh, my hometown. That community has died out a little, but there are thriving communities nearby, and with a skating, streetwear brand I can support and stay a part of that.

“I’ve been hitting number 5, number 6 in charts but I want to hit that number 1. Really, I’m just gonna keep going crazy until I get to where I want to be, with people shouting my lyrics back at me.” •

You can catch KennyHoopla at a run of festival shows, and on tour with Machine Gun Kelly and Yungblud this summer. ‘SURVIVORS GUILT: THE MIXTAPE//’ is out now, through all the usual channels.

Words by Dan Flood Photos by John Liwag Styled by Ashley Sarah Gallardo

KENNYHOOPLA

Our team have put their heads together, fought it out, and settled on our highlights-in-hindsight, since LICKS #2.

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

BEST VIDEO

¿QUE?

SHYGIRL ‘BLU’

FOO FIGHTERS GO DISCO

Shygirl is an artist intent on creating on her own terms. The sex-positive star has self-directed this fourteen minute long, six-track video which climaxes with anthemic banger ‘BDE’ ft. Slowthai. We’re left wondering where the shy in shygirl came from.

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Swapping stadium flares for corduroy, the US rock giants morphed into BeeGees cover band DeeGees to release an exclusive Record Store Day 4 track LP. They’ve truly learnt to walk again in cuban heeled boots.

BEST SINGLE

BEST COLLAB

SWINDLE (FT. LOYLE CARNER, KOJEY RADICAL, JNR WILLIAMS) ‘LOST’

AMEN DUNES AND SLEAFORD MODS ‘FEEL NOTHING’

Swindle is at it again. The South London producer has followed up ‘Quest For Coin II’ with another jazzy, soulful effort which gives its featured rappers the perfect playground to unleash their flow and creativity, evidenced by Loyle Carner and Kojey Radical’s masterful back-and-forth.

After patiently awaiting new music from Amen Dunes, it’s fair to say ‘Feel Nothing’ caught us completely off-guard. The journey of the track comes with Dunes’ depthy narration, undercut by Sleaford Mods’ driving beat which is sure to resonate on soon-to-be-filled dancefloors.

BEST DEBUT

BEST SHOW

KOJAQUE ‘TOWN’S DEAD’

GOAT GIRL X THE WINDMILL

Dublin rapper Kojaque again proves his innate ability to offer abstract commentary on life in his hometown through genre-defying style. ‘Town’s Dead’ expertly combines dark beats with harsh, but resonating lyricism. Earnest, vulnerable, poetic, insightful and fantastically paced.

Our album of 2021, so far.

Brixton’s iconic left-field venue and beloved boozer once again played host to post-punk patrons Goat Girl as part of Come Back Better, a two-week collab with Dr. Martens to support artists of marginalised genders in navigating the industry.

Words by Dan Flood

A LB UM RE VI E WS 4.2 / 5

4.3 / 5 VIC SANTORO Lifestyle: Glory Days, Pt. 3 OUT NOW

The final part of Vic Santoro’s ‘Glory Days’ trilogy feels like the perfect way to end the saga. Each chapter has brought listeners into Santoro’s life story as he reflects on pain, progression and, lastly, celebration.

Opening track ‘Cigar Talk’ immediately shows a new level from the South London rapper. Anariii’s vocals combine perfectly with the emotions that Santoro channels to create a stylishly soulful track. However, it’s ‘Transition’ that is the real show stopper as Santoro teams up with Swiss to deliver what is sure to be a fan favourite.

Each of the ‘Glory Days’ mixtapes have proved strong, but, with this latest EP, Vic Santoro has saved the best for last.

Words by Chris Prentice

4.1 / 5

OSCAR LANG Chew The Scenery OUT 13TH OF AUG

Punchy, wild, touching and intimate. This impressive, varied debut has a lot to offer.

Writing from his adolescent years, Lang encapsulates the rollercoaster-like experience of youth. The album varies wildly: the loose garage rock of ‘Stuck’ provokes memories of violent moshes, sticky gig floors, and the sensation of pints raining down on your head. ‘Quarter Past Nine’, however, is a beautifully written ballad, with an instrumental section oddly reminiscent of the power of David Bowie’s ‘Blackstar.’

‘21st Century Hobby’ opens the album with a universal struggle scrutinising topics of “fake friends” and “new trends”. Within the dream-pop sound, the lyrics mourn the pitfalls of social media. This sets the tone for ‘Chew The Scenery’; a relatable mix of sincerity and disillusionment.

Words by Jenny McDowell-Langford

GEO JORDAN Technicolour OUT 13TH OF AUG

Words by Lily Blakeney-Edwards

‘Technicolour’, the new EP from multi-instrumentalist Geo Jordan is apt in its title. Across the five tracks Jordan creates a kaleidoscopic soundscape complimented by an array of instruments and meaningful inflections. From brooding synths and dream-like guitar riffs to lulling harmonies and EDM-inspired drum patterns, Jordan does not hold back with experimentation, allowing each track to take unexpected turns that surprise on the first listen, and delight on the second.

One thing which is stark throughout is Jordan’s vulnerability. His candid vocals sit in the eye of each sonic storm pulling together each of the musical elements to form an intense and emotional record.

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CHARLI ADAMS Bullseye OUT NOW

4.3 / 5

Words by Ruari White This Nashville based singer-songwriter delivers a sincere personal selfreflection through her debut album. Underneath a laid back, acoustic pop sound, the album takes a deep dive into who Adams is, both as a person and an artist, as she draws on personal experiences and relationships.

‘Bullseye’ houses some of Adams’ strongest work to-date, with tracks like ‘Emo Lullaby :’(‘ an exciting step change from her typical polished vocal melodies. Personal favourites include the single ‘Get High w/ My Friends’ and the eponymous ‘Bullseye’ with its upbeat instrumentals and lyrics a welcome shift in tone to some of the more melancholy tracks of the album.

The three collaborations with Ruston Kelly, Nightly and Novo Amor are similarly successful and further compliment Adams’ distinctive layered vocals without overshadowing the intimacies of her lyrics. ‘Bullseye’ certainly lives up to its name.

Adams has delivered an album that is both personal and polished. It is a must-listen for any altpop lovers.

3.9 / 5

3.7 / 5

GREENTEA PENG Man Made

DEAD NATURE Watch Me Break Apart

Meandering between jazz, hip-hop and reggae, this epic eighteen-track debut album by psychedelic, R&B singer Greentea Peng provides a melting pot of genres and still impressively retains consistency throughout.

Tarek Musa’s solo project Dead Nature feels like a natural progression for the Spring King frontman, with this debut being a romp that is still undeniably rooted in pop music.

OUT NOW

From the opening track ‘Make Noise’, the album effortlessly switches between the serious and playful. Despite the record sounding repetitive in the middle, Greentea Peng expertly navigates the shifts in tone, creating an album rich with personality and heart.

This is a solid start from an artist only just showing the green shoots of her potential.

Words by Katie Hubbard

OUT NOW

Tracks like ‘50 Foot Wall’ and ‘Ladlands’ provide punchy guitar riffs which are contrasted with the dance-inspired synths found on anthemic tracks ‘Red Clouds’ and ‘Falling Down’. On first listen, it’s easy to feel a bit lost in the jumps between the in your face rock tunes and the indie dance bops. While this might raise an eyebrow at first, there’s plenty here to keep new, and Spring King fans satisfied.

Words by Callum Crowe

A LBUM REVI E WS

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e l iz a s h a ddad Self-dubbed ethereal grunger Eliza Shaddad brings a refreshingly unique sound, voice and perspective to the scene incorporating a host of cultural influences, including her Sudanese heritage, into her work.

We caught up with Eliza to get her take on the new tracks, representation in the industry and working with her husband to create ‘The Woman You Want’, the follow up album to 2018’s fantastic debut ‘Future’.

How does it feel to release ‘The Woman You Want’?

“I feel pumped! I’ve waited for it for a long time. Every time the date got pushed back, I felt like it was gonna take forever! It feels mad to have made it in such a private way, literally all recorded in our house. I’m really happy that it’s been doing well so far and that it was created in such a tiny space which I think gives me quite a bit of hope for the music industry.

I feel excited by everything we’ve made and I feel like I’ve worked for a really long time to achieve that.”

Does that release excitement come with any anxiety?

“I think having worked for nearly ten years on quite a few different projects, I’ve been through the ups and down of it all which has made me quite practical and realistic and at the minute it‘s exceeding my expectations.

Because the album was made exactly how I wanted to make it and it came from such humble origins, I had all the time I needed to get it where I wanted it. With Ben (B J Jackson)

who’s my husband producing, we were able to make it in such an ungoverned way. I had full creative control so I just thought, “I’m just going to try what I want and not bow to anyones thoughts or direction.”

You’ve said that this album was centred around figuring yourself out, is there a lot of honesty in your work?

“Yeah absolutely. Writing any song is such a release of emotions for me and it always stems from a completely personal perspective. Especially with this album; it’s so personal and the recording process was so intense! I was newly married, just at the start of lockdown and coming off the back of an EP (‘Sept ~ Dec’), I was trying to figure out what I wanted from life. Going from a solitary writing process to being in the studio and having those cathartic moments of recording songs, with the person that you’ve written some of the songs about, was a really honest experience. The ultimate catharsis will come when I’m letting it all out on stage and getting that connection with the audience.”

LICKS MAGAZINE

eliza shaddad What made you decide to work with your husband?

“We held off for a really long time. I was quite nervous about it and I know how much I ask of the people I work with. But, I obviously trust him, more than I trust anybody. So it was an opportunity to be vulnerable and experiment without worrying and because he wants the best for me and the record, he’s willing to work longer hours and get it just right. I think that it was a huge benefit for the album. He’s a brilliant producer anyway but we knew all the right buttons to push to get the best out of each other. I love the fact that when the record finally got mixed and mastered, I could look at him and say “we made this in this room and it took us so long and put us through so much shit, but you and I made that”. There is definitely some extra magic when making something with someone you are so close with.”

Your Sudanese heritage is featured throughout your work, is this a deliberate act of representation or is it an organic influence?

“A bit of both really. I’ve been to Sudan many

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times and grew up with traditional music and modern Arab music and I’ve always felt like I’d love to know more about it. I felt free to experiment with the record and I was really missing family out there and thinking about them a lot, and it was in the wake of the Sudanese revolution. I felt ready to include it.

“When I first started making music in the UK, I was really into traditional folk and heavily involved with that world which still feels like a core part of me. Though, I battled to get out of that space when I first started playing with a band because I wanted it to be loud.

On the first album, I felt I had a statement to make to not lump me in as the quiet girl with the guitar; I was angrier than that and wanted to be louder than that. On that record, I wanted to show that side of things and the team around me wanted me to showcase that.

But, it meant that there was less space on the album to get one quiet moment that was more introspective. So when it came to this record, I wanted all the quiet songs on it. And, I felt like that made this the right time to bring in those wider influences. I felt free to be who I am, and that is part Sudanese. I will delve a lot deeper into that in the future.”

“AT T H E E N D OF THE DAY, IT’S A DIREC T CHALLENGE TO THE WO RLD. W H O I S TH E WOMAN YOU WANT ?”

The alt scene is quite a white space and it‘s harder for POC voices to be heard. Has that been a driver in representing your heritage?

“Definitely; I think that people have always been really welcoming but it’s impossible to avoid the fact that if you don’t fit into a box, it’s a lot harder to make your way. I think that’s why it’s better for me to be doing something that’s so varied. I fought so hard to be in the grunge space. I didn’t identify as a teenage grunge girl so I felt a bit strange. I was really into folk but didn’t quite fit into that mould either! You just have to go wherever your heart and influences lead you and the sum total of that is not one easily marketable genre.”

Moves have been made to diversify and change the industry, bettering it for womxn. How does this make you feel as a female musician?

“It’s definitely improving but we still have a long way to go. I think the main problem is the unconscious bias in corporate infrastructures that exist. If the CEO’s are mostly signing male acts because they see that, historically, male acts bring in the most money, then festivals promoters look for the biggest bands and they find male acts! Female acts still aren’t getting the same opportunities, which is crazy when you think that the biggest pop stars in the world are female. Structural change is needed, but that change needs to come from individual people questioning the decisions they make with the rigour that’s needed to make actual change.

“Myself and a friend, Sam Lindo, set up Girls Girls Girls, a local night showcasing talented, creative womxn, because we were sick of playing bad gigs where we‘d be on line ups with completely random bands from totally

ELIZA SHADDAD

different genres. There was no space for experimentation or nurturing of talent. If you were a group of lads in a band, then great, but if you were a girl with a guitar, then they’d stick you on first and that was it. So, we decided to put on a night that only showcased female artists from different arts disciplines.

Anyone that wanted to share something and take a risk in a safe space could come to us. We proved that you could stick five girls on a line up and they would all absolutely kill it.”

Empowerment is a strong theme on the album. What does this mean to you?

“Empowerment to me feels like recognising that you can do what you want to do. Just feeling that there’s nothing to hold you back and that you have that freedom. This album has been super empowering because I knew what I wanted and made it happen.

wasn’t sure whether the title was good or bad because it felt like a bit of everything. There is an element of submission in it, but there’s also a real assertiveness to it. At the end of the day, it’s a direct challenge to the world. Who is the woman you want?” •

Eliza Shaddad’s stunning new album, ‘The Woman You Want’ is available now on vinyl or you can listen to it via all good streaming platforms.

Words by Sabiyha Rasheed Photos by Hannah Driscoll Styled by Kelechi Amadi Dresses by Bora Aksu

“The album title was kind of a reckoning. It says, I know what I should be and I know what I want to be, but I just can’t do it right now.

When I finally got to the end of the album I

Words by Jack Parker Photo by Nathan Dunphy

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JOHN MYRTLE JOHN MYRTLE’S WARM, RETRO POP RETURNS IN NEW ALBUM ‘MYRTLE SOUP’. WE SPOKE TO JOHN ABOUT HOW HE CURATES THIS HAPPY, HOME-PRODUCED SOUND.

How do you think your musical style has evolved?

The album has a distinctly vintage sixties pop sound. What influenced this?

“I started playing bass in bands at fifteen. At school, it was always the done thing to go to music studios, but I ended up just wanting to have my own creative freedom. I had a Zoom R-8 track digital recorder which I used to love, and my style just progressed from there.”

“I think I fell into it as I genuinely didn’t set out necessarily to sound anything like an artist from the sixties. I do love that kind of music, so maybe it’s because I listen to it a lot. It’s familiar to me and so is a way I can confidently portray myself. I think the songs on the album really come from me. I’m writing about my own experiences now and using a slight sixties wallpaper for it.”

Who were your early influences?

“My favourite bands are mainly eighties and nineties indie groups like The Stone Roses, The La’s and Shack. As I got older, listening to artists like Emitt Rhodes, who made seventies Beatles-esque music at home, was a big turning point for me to try my own music at home and not use a studio.”

The new album is titled ‘Myrtle Soup’, what was the idea behind this record?

“I thought it would be funny to make an album about the creation of a psychedelic soup but with a homely sound to it. All of these songs were recorded at home and were influenced by various bits and bobs I found around the house to create some of the tracks. Especially in lockdown I thought it would be a nice way to create a home-spun world which I could bring people into. ‘Myrtle Soup’ as a title felt like it embodied that.”

Do you have a favourite track on the new record?

“I like ‘Remember Holly Park’ a lot! I think it’s probably the most reflective and it feels like I’m bearing my soul a lot in it. I also love ‘Spider on the Wall’. It feels very appropriate for this album as it’s about being locked in but from a different perspective entirely.”

What does the future hold?

“I’ve got plans for a few gigs, before hoping to tour now the album is released. Then it’s on to the next record!”

John Myrtle’s charming new album, ‘Myrtle Soup’, is out now.

Words by Ruari White Photo by Jody Evans

LICKS MAGAZINE

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KEE P DANCI N G I N C HAVING RELEASED DEBUT ALBUM ‘EMBRACE’ IN LOCKDOWN, THE PARISIAN POP TRIO ARE FINALLY GEARING UP TO TOUR. WE SAT DOWN WITH GABY (DRUMS/VOCALS), LOUIS (VOCALS/GUITAR) AND JOSEPH (BASS/SYNTHS) TO TALK TOUR FITNESS, EARLY INFLUENCES AND TEASING NEW MATERIAL.

How would you describe your sound to someone who has never heard of you?

Louis: “We are Keep Dancing Inc and we try to create well crafted pop music. The song always comes first, in the most noble sense.”

Who were influences?

your

early

Louis: “The origins of the band started after meeting at a Palma Violets gig, so definitely them. Also, Arcade Fire and Blood Orange were very inspirational to us.

“We knew that we wanted to have three key elements to the band; to make rock music, to be electronic and to write well crafted songs.”

You’ve lined up a big UK tour for December. Are you excited for that?

Gaby: “Definitely! It is going to be our biggest tour to date. We’ve got six shows in a row, a day’s break and then another six shows in a row.

It’s going to be exhausting after two years of no gigs.

There’ll have to be special training to get us ready for it. Especially as you guys drink a lot in the UK so we won’t be able to keep up.”

Louis: “We’ll have to show you what us French can do!”

How important has live music been for the band?

Joseph: “We originally planned to release the album, ‘Embrace’, in June 2020, so we pushed it back in hope that Covid would be over by the autumn, but

Words by Jack Parker Photo by Matteo Verzini

when we finally released it we ended up entering a lockdown in France. We had to just forget about playing shows by that point. We are dying to play to a real audience. It will be amazing just to hear the response from people because we don’t even know what to expect. We don’t even know if people will show up.”

When can we expect to hear new music?

Gaby: “We’ve been writing new songs. We just have to work out the “strategy”. We hope to release something by the end of the year. But, we don’t know if we can talk about it. So let’s say there will be new music at some point.” • You can catch Keep Dancing Inc on their UK tour this December.

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BEST

U.K. & IRE LAND

TOW N

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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.

J AP P I A H London, England Inspired by an eclectic range of artists from Bill Withers to Blur, genre hopping artist J Appiah has found a truly unique sound. His beautifully soulful voice and autobiographical songwriting provides honest, emotional and impactful music.

FRAN K Y’ S D REA M Southampton, England An explosive three piece who are set to make a big impact this summer.

The trio combine disco beats and syncopated basslines with fizzing guitars and gritty vocals to create their own unique soundscape.

B -A HW E Leeds, England Future soul rising star B-ahwe’s ability to tell intricately woven stories has begun to turn heads. With a focus on rich vocal arrangements, lush instrumentals and poetic lyricism, she’s been likened to a trip-hop Kate Bush. Her latest release ‘Circles’ is out on July 30th.

T V PEOPLE Dublin, Ireland An alternative rock band from Dublin, TV People catch the ear, lacing their dark and gritty sound with punk-infused undertones. The band have recently released their first single of 2021, ‘Out of the Silence’, and will be releasing their debut EP later this summer via Blowtorch Records.

BEST IN TOWN

SH E A RS Edinburgh, Scotland Musician and producer Becca Shearing (also known as SHEARS) had a successful breakthrough year in 2020 with a sold-out headline show and featuring on BBC Radio 1’s Introducing Hot List. Her new EP ‘Mind in Decline’ is out in October with the first single ‘Pick Me Up’ out now.

THE WA L K I N G TRE E S Eastbourne/Manchester, England The Walking Trees create cinematic, timeless, nostalgic and, in moments, lucid poetry-infused rock. Strong influences from The Doors, Gil Scot Heron and beat poetry are felt through the pulse of their sound.

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T EEF F Sheffield, England Fuzzy riffs, punchy drums and bluesy vocals from the depths of Yorkshire are all packaged into newcomers Teeff. With a host of eye-catching festival shows under their belts, this Sheffield band is certainly one to see live. Their new single ‘England Today’ is out now.

LORAINE CLUB Dublin, Ireland Another exciting band coming out of the Emerald Isle, Loraine Club have been fastly building a following with sold out shows at famous Dublin venues such as Whelan’s and The Workman’s Club and supporting artists such as Friendly Fires. Their disco-inspired indie bops are sure to get your feet moving.

BEST IN TOWN

M I STA ST RA N G E London, England Dedicated to forming his own path with his witty and honest lyricism, UK Rap and Drill artist, Mista Strange, is spearheading a change through the telling of his story as a young gay black man growing up on the cold, unforgiving London streets.

LAY T HA Enniskillen, Northern Ireland With a sound that is as wild, beautiful and untamed as their home in the west of Ireland comes Laytha, an indie-folk duo cut from the same cloth as Saint Sister and First Aid Kit. A compelling fusion of contemporary indie melodies and haunting harmonies make Laytha one of the brightest new talents in Ireland.

New single ‘What Will I Gain’ is available now.

P I Z Z A C R UN C H Glasgow, Scotland

VOO DO O BA N DITS Isle Of Man

This Scottish four-piece couple an eighties post-punk strut with glimpses of noughties nonchalance.

Infectious guitar riffs and a relentless rhythm section combine with accentuated lyricism, which moves between the obnoxiously wry and the potently gloomy.

A four-piece indie rock band with surf-grunge tendencies, Voodoo Bandits describe their sound as a “blue sky riding on a skateboard”.

Fuzzy guitar hooks, distinctive melodies and boisterously fast beats blend together to provide a feeling of carefree relief.

B E ST IN TOW N

MILLER BLUE

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Blurring typical genre boundaries and relishing creative freedom, self-taught and self-produced Miller Blue fuses R&B, hip-hop, jazz, neo-soul, and more. We spoke to Miller for the lowdown on the artist behind new EP, ‘Tree of Tenere’.

“I’ve never learnt music theory. As an artist, I go off what I could hear and try to recreate it on a guitar or keys and transpose that to something sonically with production. I’ve never tried to study songs or genres. I’m not training to be a jazz guitarist, for example, I just listen to a lot of music and try to recreate it in my own world.”

The guitar is a key part of the creative process for the Shropshire native. “I find that when playing guitar I can translate what I’m feeling, what I’m wanting to get out. I don’t necessarily want acoustic sounds, but that really helps the initial process. From there I can build the world sonically on a laptop through other instruments. It’s a solid foundation for songwriting, definitely.”

Citing J Dilla, Brockhampton, James Blake, neo-soul artists like Erykah Badu, D’Angelo, and early jazz like Miles Davis as influences, it’s clear to see where Miller’s tendency for fusion and collaboration comes from.

Lyrically, his work is honest and emotive, focusing on relationships, reflection and introspection. Surprisingly, his lyrical honesty isn’t entirely intentional; “I think the more honest my songs are, the more they’ve come from a place of needing a release. It’s almost like having a conversation with myself to help release something that I’ve been holding onto. I never really write it with the intention of helping someone. I write the music for me and then hope that it can translate to someone in a way that can help them, or make

them think of certain things, but it’s never my main intention.”

The perhaps unusual choice behind the EP’s title expertly conveys the ethos of the record with Miller explaining “Tree of Tenere was a tree in the Sahara Desert. It was on its own and its roots had spread really far to keep it alive. I loved the imagery of having to stand on your own, and going inward to flourish. I came up with that concept separate from the music, and because the songs were about that too it came together quite nicely. It’s my favourite project so far.” ‘Tree of Tenere’ was not, in fact, created in isolation despite Miller’s penchant for introspection. “It’s the first project that I’ve worked collaboratively on, with a lot of my musician friends contributing. There’s a lot of people on the record, but it kind of came together quite organically.”

When asked what he wants listeners to take away from the record Miller again exudes his reflective, calming influence. “The premise of the record is exploring isolation, loneliness, self-reflection and loving yourself. I hope it will bring small reminders to let yourself relax and let yourself enjoy when the opportunity comes up, because, ultimately, we all go through an array of emotions, whether they are good or bad - we just need to allow ourselves to feel.” •

Miller Blue’s new record, ‘Tree Of Tenere’ is out now.

Words by Katie Hubbard Photos by Hana Zebzabi

MI LLER B LUE

WAR DIVIDES MUSIC CONNECTS

Using the power of music for social change www.musicianswithoutborders.org L IC KS M AGAZI N E

ISSUE 3

TASTE IN MUSIC

e li z a sh a ddad MILLER BLUE • KEEP DANCING INC • JOHN MYRTLE L IC KS M AGAZI N E

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