Crewel Intentions Shame Goat Girl The Orielles Jerkcurb Honey Hahs
Here we are, our final magazine of 2017. A year of scenes,
Staying in the area, Manchester band, The Starlight Magic
scandal and a snap election. We now look forward to 2018
Hour are relatively unknown but we get in touch to check
with an issue that serves as a heads up for what you can
in on their ambitions. Instant Shit returns as we say a fond
expect in the near future. South London stalwarts, Shame
farewell to Dead Pretties, the band have decided to call it
grace our cover as they approach the release of their debut
a day. Back to the chats, we drop Goat Girl an email and
album ‘Songs of Praise’. We catch up with the band at a
ask them to review the year, and then its to the states where
Brixton pub to chat nerves, contingency plans and what
Starcrawler show that the Rock ‘n’ Roll lies in their inbox
pisses them off. Chilli Jesson, once one half of the Palma
as well as their music. Staying with Rough Trade Records,
Violets dynamic front duo, has gone it alone with new band
their youngest offering, Honey Hahs, are a force that boast
Crewel Intentions. Meeting at an old West London haunt,
an average age of 12. With a promising year ahead, we have
we discussed being an outsider, song writing and getting
a quick chinwag about their time as a band so far. Jerkcurb
things right in the background. Heading north east, we catch
from London and Scotland’s Spinning Coin complete our
up with Heavenly Records signings, The Orielles and talk
line up but not before we introduce Drahla, Sister Talk,
through the influence of David Lynch films.
Whenyoung and more in Who Are You?
21 Year of the Goat
9 The Orielles
25 Honey Hahs
11 Instant Shit
31 Who Are You?
13 Crewel Intentions
18 The Starlight Magic Hour
39 Spinning Coin
19 What Next?
Goat Girl’s 2017
Songs of Praise
Let Your Dogtooth Grow
Get to Know
Goodbye Dead Pretties
Second Chance at a First Impression
Money Money Money
Opposite, So Young Illustration Competition Winner, Carlín Díaz (David Bowie)
Shame Shame are having fun. They’re five childhood friends
Where have you enjoyed playing the most?
travelling the world together, spreading the good word and making great music while they’re at it. We first featured
France or the Netherlands. The Netherlands is always
Shame a year and a half ago and they haven’t come off the
pretty sick. The Dutch are good people. It’s scientifically
road since. We met the band in a Brixton pub for a pint and
impossible to anger a Dutch person…
they looked as fresh faced as ever. The relentless touring doesn’t seem to have done too much damage thus far and its
It’s kind of hard to think about all the different countries we
apparent that they’re all still friends.
went to. We did SXSW. That was the biggest surprise I’ve ever had at a show, I didn’t know what to expect. I thought
Earning their stripes at the infamous Queens Head before
the Americans would be like: “what the fuck is this!?” But
they were even 18, brushing shoulders with the Fat Whites,
they’re such an enthusiastic audience, they’re really happy
King Krule, Jerkcurb and other notable South London
and up for it, in Austin at least.
natives, Shame now find themselves about to release their debut album, Songs of Praise and all they can think about is
How do you find all the touring?
getting back in the van… When we’re touring so much I always bring to my head Alright Shame, how’s it going. So I hear you’re off on
Einstein’s quote that the definition of insanity is to do the
same thing over and over again and expect a different result. When you’ve done the 150th gig playing roughly the same
We’re away in December, we’re gone until the 17th. We’ve
set you do start to wonder…
got a big German tour in December… it’s going to be cold. Did you not have to write a lot of new tracks for the I remember seeing a clip of you on French national TV a
while back... We altered songs. We went over them and stuff like that, but Le Grand Journal. That was weird. That was so weird. The
there was never: “shit we need another three tracks”… We
week before they had like Metallica and the week after it
didn’t have that mentality. We’re quite slow with writing
was Eminem. We were like: “why are we here!?”. I looked
songs. We don’t want to work on anything unless we feel
it up afterwards and it was a list of like Kanye West, Taylor
that everybody in the band is clicking together.
Swift… you know? Who does the writing? You seem to play live an awful lot… It’s everyone together. I’d say Sean and Eddie are the We told our booking agent and our managers that primarily
main ones… they come up with a riff, it’s easier to go off
we’re a live band so we just wanted to keep on doing that
something if you have a good guitar line and some chords –
first and it just evolved into us getting so many gigs. We’re
we tried going in with bass-lines before on one song. Donk
not very good at rejecting people. We were like: “what, you
started with just a bass-line, Concrete started with just a
want us to drive for eight days for £12? Yeah, we’ll do that.
Words by Rob Knaggs and Josh Whettingsteel, illustration by Jay Cover
Were you not gig people before?
We all write, I just do the lyrics I don’t do any music, but we’re all quite different we’re all a group of complete individuals with quite strong opinions and it got to a point
Sean: Charlie and Eddie were. I was not. Before the band I
where if you can’t be as blunt as you possibly have to be to
think I’d been to three gigs in my life. Muse, Tame Impala
your bandmate, there’s no point in really doing it. You have
and Wu Tang Clan.
to be able to say that’s shit. Criticism is the most important Steen: I went to see Wu Tang with Sean, I then had my
thing. And it’s lacking in a lot of music.
very close friend ending up taking me to see a load of gigs What are your influences?
and the first gig he took me to see was Superfood, with the whole album of Breakfast in America… Supertramp! Supertramp not Superfood!
Eddy Current Suppression Ring is probably like the foundation… mutually…
Steen: The first proper small gig I went to see, we were 15 What album?
or 14, was at the Queens Head. Me and a few mates went to see Jerkcurb, Childhood, King Krule and the Fat White Family at the Queens Head.
Uh, Primary Colours, that was the first one we heard and just listened to over and over and over and over and over… we heard that when we just started the band. Where we
Charlie Forbes’s dad, whose nickname is Lenin, got us
practice now in Camberwell, Jason Playford our good friend
in. Because he’s really good mates with the ex landlord,
showed it to us and we were like: “woah!” Sean loves the
which is how we started practicing there. And then when we
Smiths… I just listened to the Baxter Dury album today…
started going to gigs and the Windmill and places like that it was so different from when you grow up and go to gigs at
We all like really different shit basically. Right now I’m into
places like Brixton Academy and Ally Pally and stuff like
Protomartyr, that albums fucking amazing.
that. All of the intimacy is lost at those gigs.
Sean: I’ve been listening to a lot of Modest Mouse and
So tell me about the band and how that kicked off. Have
Pavement recently... Yo La Tengo and stuff. Sparkle Horse.
you known each other for a while?
Dinosaur Jr. Basically just say we’ve known each other since we were I think when we met everyone knew The Beatles and Bob
kids, because it skips out the nonsense. We’ve all known
Dylan and when we started the band it was because of
each other for a long time which I think is sort of the strong
The Fall and The Stooges… I was raised on Iggy Pop, but
point and the weak point of the band at the same time.
I somehow never knew about the Stooges… again Jason
Whenever someone gets pissed off about something we just
showed me that album.
When you look at a band with that legendary status and that
What pisses you off?
large a discography, it’s quite intimidating sometimes. It’s like do I start at the first album or the last one? I hated The
We always get described as punk. I don’t think we sound
Fall so much the first time I heard it. I never got it, and then
very punk at all. Like compared to the Sex Pistols and stuff.
I heard ‘The North will Rise Again’ off ‘Grotesque’ and I
We get so many articles where it’s like: “ever wish you’d
was like: “woah…”
seen Sham 69?” It’s just like, please no. But we have had a few…
What changed? Talking about music journalism, how do you feel about Now we actually go to gigs. Regrettably.
the South London Scene tag that’s floating about?
Steen: I went to Camberwell to do a year of fine art with
What’ll you do if the band flops?
Asha from Sorry and it was just like wait, people our age like this kind of music? It’s just a friend group. People who
I’d write an incredibly insulting documentation on all the
were interested in the same things we were.
people I want to kill from this band. Sell my stories that I’ve gathered over the years. Form another band. That’s
Forbes: I went camping with Louis from Sorry when I was
always the likelihood, this career is formed on a risk. We
12 and didn’t see him again until we played The Old Blue
have no idea what’s going to happen tomorrow or the next
Last about a year into Shame and it was just like oh…
day. As soon as our fans hit 18 they could just start hating us, and we’ll have to target the new wave of 15 year olds.
We’re just mates with all the other bands. Recently we
But the greatest way to achieve success is always believing
haven’t seen them very much. We used to play gigs with all
you’re on the brink of failure.
these bands all the time. Everyone would help each other out and see each other all the time. Everyone’s now at the
Are you nervous?
stage where they’re not gigging constantly in London. Everyone’s in the touring game now. And recording’s a
There’s no way you can’t be nervous. I think now I’m
completely different world.
very excited but as it becomes closer to the time… It is something that’s out and you can’t take it back… if it didn’t
So why did you start the band?
make that much of an impact… which is an incredibly likely possibility but hopefully it doesn’t happen…
Boredom I think is the main reason. It became relatable for us. It wasn’t like we were all into a scene and got together,
You’re cemented as a completely different act as soon as
it was more like we all played instruments and were friends.
you release an album. It’s a fucking big deal man. There’s a lot of forgiveness when you start out. With this album we’re
When we first started playing the Queens Head we didn’t
saying that this is what we are, and if people don’t like it…
like bringing people there, you know? None of our friends
you can’t just say you’re going to refine it…
got it, at all. We used to get kicked out of there as well. Our friends were 17 and were bringing in bottles of Ribena and
Yeah, it feels like sometimes an album can be the thing
Glens to drink.
that kills a lot of new bands.
What are you most excited about, with releasing the
It does fucking kill bands.
record? Luckily as soon as we release the album we go on tour I think the thing I’m most excited about is that people aren’t
immediately afterwards. We’re doing a world tour basically
going to have to come to a live show to see a set. People
afterwards, and a lot of bands I feel like that might be where
who’ve come to a live show have been feeding off scraps.
they miss out. Where they release an album and then there’s a quiet zone. And you don’t have something to keep the
With albums now, the interesting thing that gets said a lot.
When you go on Spotify and look at the plays it goes down and down and down and down so I think albums are like,
I’m excited to see how people will react after seeing us live.
becoming less and less relevant but as an actual music fan
I’m also thinking about it from the perspective of… People
I’m never going to stop listening to albums. But I think it’s
in Iowa aren’t sitting around listening to one of our tracks
just a massive accomplishment for us. It’s been three times
at the moment so, you know, we’ve done a lot of Europe but
more work for three times more debt than I’d ever have
there’s still so much to go and we do still have that mind-set
hoped for… it’s not as bad as being a student though.
where you play and you play and you play and you play…
Ed Burkes, opposite Ricardo Passaporte
The Orielles 2017 has been a wild year for The Orielles; they signed
We recorded it over about five, separate, week-long sessions
to cult label, Heavenly Records, released an onslaught of
throughout summer, so we were pretty conflicted about
perfectly formed, C86-inflected morsels, DJ’ed for their
the way we felt when it was initially finished; half of us
heroes, The Pastels and in vocalist, Esme Hand-Halford’s
was really psyched to finally have this finished product
case, started university, a move which is “almost like living
of something that we’d been working towards for years,
a double life,” especially when you have to cancel nights
but we were obviously slightly bummed about finishing it
out for “shooting a video or playing a show in Madrid.” As
because it was so much fun to make and if we could spend
all paths lead up to the release of their debut album, we talk
all of our time writing and recording at Eve Studios with the
to Esme about various things including not taking yourself
team of people we had involved, then I’m sure we would!
too seriously, the philosophy of the “banger” and why
Ultimately, we’ve adopted the attitude that as long as us and
everything “needs more cowbell.”
Heavenly are happy with it, that’s all that we could aim for.
You’re a band who seem really heavily influenced by
Let Your Dogtooth Grow sees your first ever encounter
films, you reference quite a lot of them within practically
with the glorious MiniMoog - how did this relationship
all of your music - what films or directors are you most
drawn to? Ahh our first encounter with the Mini Moog… it was love David Lynch is a consistent one, particularly aesthetically,
at first sight basically. We kind of made the decision to give
so a lot of the videos and stuff that we produce kind
a lot of the tracks an implicitly, dancier vibe, mainly just as
of borrows elements from his creation of nightmarish,
a subconscious reaction to our own music tastes. However,
absurdist ‘realities’. Wim Wenders is also great and films
it really helped that our producer Marta sure knows her way
like ‘Wings Of Desire’ and ‘Paris, Texas’ are so deeply
around a Mini Moog and so, she had a lot of cool ideas with
insightful and inspiring. When we were in the studio,
that and knew how to get some great sounds out of it that
recording the album, we had begun to write a song called
worked well with the vibe that we were after!
Blue Suitcase with a vague idea of how it went musically, but I had writers block and just couldn’t think of anything
You can tell you’re a band who really enjoy unearthing
lyrically that would suit the song. That night we watched
all kinds of new music, what’s the best thing you’ve
a film called Coherence, which talks about so much stuff
discovered, musically, this year?
including ‘Schrodinger’s cat’ which is what the lyrics ended up referencing quite a bit. So, sometimes it’s not specific
We all saw Kikigaku Moyo at Green Man Festival this
films or directors that we get drawn to, but more the the
summer, a band we’d already heard of, but their live set
way that the film promotes some kind of discussion or
literally blew us away - it was collectively one of the best
artistic motivation in that particular moment.
things we’d ever seen live! Their recordings are great but their live show is on another level. Also, this is incredibly
You mentioned the recording of the debut album, which
recent (like, I just found it last night but I’m gonna hype it
I believe is finished now, how are you feeling towards its
anyway) the Delvon Lamarr Organ Trio, they only seem to
have live sessions up on Youtube but I can’t stop watching ‘em, they’re so tight! Also, I re-discovered by love for Avi Buffalo this year which has also kind of changed my life...
Words by Harley Cassidy, illustration by Kyle Platts
It’s sad to see Dead Pretties go because they had songs. Real fucking songs. The kind of songs that already sounded bittersweet and nostalgic by the second or third listen. They were almost controversially traditional in this way- it’s something you don’t really see anymore, everybody’s too busy trying to make everybody else feel as uncomfortable as possible. But Dead Pretties were totally unaffected and completely unpretentious. These were not songs sung by a disdained band to a hopeless audience; boring, small-minded and stuck up, these songs were powerful, intense, but always universal and always inclusive. They inverted the dark norms set up by the South London music scene, and while darkness was still there, it was slow and seeping, lay hidden in between the cracks, not a fashionable item of clothing to don as and when they pleased. You could sing along to your new favourite song cradling a beer in one arm and your best mate in the other, it was joyous, but it could feel like they were performing at a cliff’s edge, like at any moment it would all fall apart, as though there was a big red button just gagging to be pushed. But do not misunderstand, they were tight, in friendship and in music, a real gang- there seemed to be a telepathy between them, and you wanted to be a part of the party. But, in retrospect maybe it was almost too tight. Tense. About to snap.
Words by Georgie Jesson, illustration by Josh Whettingsteel
The skinny, starving, wild-eyed dog that stained their
And I think what made it even funnier was that most of the
backdrop was an image more than apt for a band that was
time they would disappear to their own rooms after not too
both hard working and hungry, but wouldn’t think twice
long, leaving this doe-eyed flock to fend for themselves.
about biting the hands that fed them: they were never
They didn’t really give a shit about the social aspect of the
ungrateful but persistently dissatisfied- it’s hard to be a
whole thing, it felt like they just wanted to get better and
band without a gimmick these days, and I think they felt
play better and not have to deal with our kind anymore: we
the sting of that. They didn’t fit into the world of middle-
all got too comfortable, but they were always looking for
class politics and upper-class bolsheviks that festered in
Brixton’s cleanest corners. They themselves all moved into a digs up in Seven Sisters, and no sooner had they moved
None of this is new. Not their lifestyle, not their
in what possessions they had bothered to pack, doors were
recklessness, not even their music. Although it was
kicked in and there was blood smeared on the walls. It
instantaneously classic, it was never safe. Filled and
sounds ridiculous, and it was, but more than that it was fun.
frothing to the brim with energy and crazy and poetry:
Post-gig, musicians, friends and strangers would clamber
‘The boy betrayed a frown,/ They crucified him upside
into this dirty, cream living room to take powders to get em
down,/ Just to see him smiling.’ What imagery and beauty
through and pills to get em down. More often than not the
and perfect darkness some of those lyrics hold. And I truly
speakers would be bust, so the soundtrack to the evening
believe that they will hold and they will last and in a strange
would be the grotesque gabble of millennials and a few
paradoxical mess the band that hit the self-destruct button
and imploded in on itself has consecrated themselves into the concrete of London and more importantly, beyond. Their visceral energy spilling out of the Capital, out towards the suburbs and all over the fucking place. Music for anyone and everyone no matter what their social standing. Goodbye, but not forever and not for long, to the last of the rocknrollas. They’ll be back, in some form or some capacity causing some kind of catastrophe- how else are they gonna pay that goddamn rent?
Crewel Intentions Second Chance at a First Impression
You seem to have carefully curated your first few gigs back… Chilli Jesson has spent the last year watching Sergio Leone’s spaghetti westerns, absorbing the music of Ennio Morricone and watching the UK’s fertile music scene evolve from a far, biding his time and waiting to pounce. With the glorious years of Palma Violets’ youthful onslaught behind him, he’s ready for the next step in his journey. Now the leader of his new outfit, Crewel Intentions, Chilli’s come home from the desert without a cactus in sight and his (surprisingly high) boots are firmly back on terra firma. We met up with the man himself at a pub in his old stomping ground of West London to talk about progress, his new gang of outsiders and where that name came from...
The first line up we played with was just amazing and it’s all about making those nights as exciting and as worthwhile as possible and for them to be free, that’s why they’re kind of scattered and spaced out. These are bands that I love, I love seeing the new groups in London. How do you feel having been in their position, having lived it a little bit? I truly consider myself the same as them, it really feels like starting again… I’ve learnt a few things, you know, I play six strings now instead of four. I’m slowly progressing, but this is a brand new thing and I think that’s where the real excitement is for me, I feel like, you know, “have another go!”
Words by Sam Ford and Josh Whettingsteel
You’ve been very careful with how you’ve released this
I never really look back retrospectively on much at the
new band to the world, making sure it’s right.
moment to be honest, I’m so much in this forward thinking motion but maybe it has been a pull in the reason why
I think the way the group has formed, its not like four
these bands do wanna come and play and be a part of
guys that went to school together, this has been a slow
it, considering there’s no music, they must be going on
progression. You know, I originally started off wanting to be
a music manager and then somehow progressed to playing a bass guitar. So I was originally managing Palma Violets and
It seems like the focus has been on getting the band
then I progressed to bass, I never intended to and this is just
ready behind the scenes instead of gigging it out to find
the next progression in my small journey.
There’s always been a curatorial aspect to everything
I spent a lot of time fighting this thing of, “are they gonna
you’ve done from Studio 180 to these new gigs with
make it to the end of the gig?” And it really got to a point
carefully chosen bands…
where I got fed up with that, I wanted to give a real, real show. I mean, it can fall apart at any point, admittedly, and
Now it’s more important than ever.
it has done, but its just a change in the way I’m looking at things. I do wanna give all that I can, it’s just a different
We were at your show at the Montague and it felt
tact to the way I used to think about playing, you know.
like everyone was on a level pegging with no clear
It’s just another way of looking at it but you’re right, I
consciously wanted it to be right before I came out with it, its just too important, you don’t get a second chance at a
It’s just all one fucking thing… But that’s what I really
first impression anymore.
want to create and it only makes the next band better, you know, when you’re up against it a little bit. I think it’s the most important thing to do. I’ve had a year of not being in a band so I’ve seen a lot of music and that’s just one thing I’ve realised, the comradery with a lot of these groups and I think that’s amazing in itself but I think with Crewel Intentions we’re kind of the outsiders and I feel like the role that I really wanna have is to draw all these different aspects together that I’ve been seeing and picking what I really love, you know, and just hoping that they’ll play with me and so far its worked, but you’re right there’s no kind of, set headliner, its about the night. So do you feel like you’ve attached yourselves to other outsiders as opposed to trying to jump into an already established ‘scene’? Yeah, I suppose some of them are just newer, like Black Midi for instance and Sister Talk, they’re just beginning but they all have this specific angle and maybe it is an outsider angle. Ultimately it’s about something that would excite me. And it’s just something new for everyone. Do you think the Palma Violets aspect may have helped with their willingness to jump on board?
Illustrations by Josh Whettingsteel
You’re gonna have more eyes on you with your first gig
I was watching a lot of these spaghetti westerns with the
than any other band. As soon as people hear that its
(Ennio) Morricone sound and I loved all of his music but
YOU, they’re going to be extra judgemental…
there was this moment when I was sitting with Marley and was like, “this is what I want it to sound like but we’ve got
It just had to be right, I see those judging eyes anyway.
all these fucking limitations and no money”. Then I was just thinking, well the reason they’re called spaghetti westerns
Do you write all the lyrics?
was because they didn’t have the money to shoot them in America, you know, they’re all shot in Italy and Spain or
I work with my sister, the whole thing’s been quite
whatever. And I suppose we sort of took that same tact and
collaborative. The lyrics on this record are quite dark.
I grabbed a lot of inspiration from them to go, “ok there
My father died when I was younger and this is a rock that
might not be this landscape of canyons etc”. But what came
I never turned, you know. My sister was a poet and has
out was exactly what I wanted, those limitations give that
obviously written for So Young and stuff like that… We sort
rawness that I love and the single that will come out will be
of, just beautifully started writing these words together in
that, from the fucking tin box with a few mics. I’m really
this collaborative thing and the lyrics are so personal that
happy with it because it seemed like a really daunting thing
I couldn’t have collaborated with anyone else, I mean she
but I think I managed it.
went through the same shit that I have you know… We’re really close, so that’s been a really important factor and the
Where does your name come from? I think I read it
lyrics are really great.
was from ‘Waterloo Sunset’. “Chilly, chilly is evening time”…
From seeing you live 2 or 3 times, the song ‘Crewel Intentions’ really stays in your head and although the
(Laughs) You see that’s not the real thing and there’s many,
lyrics are great, the hook comes only 30 seconds from the
many different variations as to where the name comes from
end and it’s got this incredible finish…
but I can’t reveal it to you man. The next one, ok? That’s the deal, next interview.
Well then you’ve gotta put it on again! That’s how you get the Spotify plays up (laughs). It’s the modern way, you
Is this like the Spotify plays thing?
know. I’m way ahead of the game. Exactly No, I’m so happy you said that because that’s been the other thing for me, song writing is a really important thing and
Issue twenty we’ll find out
I’ve spent so much time on them and crafting them and I love choruses, I love pop songs and I was trying to marry
Issue twenty, I’ll tell you the real reason alright?
the two sides and there’s a real depth to it and that’s what I hope I’ve done.
And it it’ll be one of the most boring stories…
Essentially you’re writing a first album again… Yeah, which is fucking wicked The honest truth is, I was left with this group of songs and I called up Marley (Mackey) and said, “look man, I’ve got this group of songs, do you wanna give me a hand putting some guitar parts and stuff on them?” We had a room less than the size of this (small corner of the pub) but the songs in my head were fucking huge and it sort of ties in to this spaghetti western stuff.
There is absolutely nothing underwhelming about
Music that is catchy and to the point, lyrically with a
witnessing Salford’s The Starlight Magic Hour live. The
beginning, middle and end and musically with no fat.
group played the launch party of our last issue at The Five Bells after we introduced them via ‘Instant Shit’
Are there any artists in particular that you’d like to
in the same issue. Although shambolic and unhinged
work with in regards to any future music videos, single
there was a collective energy between the group that
was almost tangible as they played with their equipment set up throughout the South London pub, seemingly
We do most of our design in house. Our kid Marcus
reaching further towards the jukebox at the back as the
Aurelius in brackets (Historical figure) does a fair share
set progressed. One song would seamlessly flow into the
of the artwork. Joe Britch did a lot of art for us early on
next as they invited each member of the audience into their
before he joined. Alex Mckie designed our logo, no going
world and subsequently kicked them out in one fell swoop.
back on that one, I already have it tattooed on me. He also
I couldn’t tell you how many members were in the band and
designed some of the artwork on the earlier demos. Both Joe
I definitely couldn’t tell you whether there was the same
and Alex are really talented graphic designers. Joe is also a
amount playing at the beginning as there was at the end.
very talented guitarist and songwriter that I have long been
One thing’s for sure, we at So Young are excited about what’s to come. We caught up with the band to try and make sense of it all... Could you tell us a bit about the music you make… First and foremost it’s about a feeling. You want people to feel. Not in a controversial way or in a shocking way, we never aim to do that. People don’t need to know the origins of the story but it’s personal to us and the stories we tell have
The Starlight Magic Hour
a purpose and a point, the people that the songs are for will
goading into doing something and he has some good music that will be up and running live very soon with our bassist Ollie. What do you want to evoke from the audience when you play live? As long as they feel something that’s alright by me, friend. Things have been brewing for you for a while now and it was a pleasure having you play for us at The Five Bells
recently, what can we expect from you in 2018?
know their meaning. We also want to make something that makes you want to move, get angry, think. At other times
Music first and foremost, we are big believers in bands
something that makes you want to hold a loved one close
having strong outputs and not holding back. We want to
and slow dance. I want to create narratives and tell stories
be releasing albums regularly and always working on
and give people a world to immerse themselves in within
something. We’ll be developing the visual aspect of the
my lyrics and then as a group we would like to do that
world we are creating within the music and there could
through other mediums, as in visually and musically. We
be some non-musicial releases at some point this year.
want to create something that is our own, as much as that
Hopefully the narrative of the songs and story of albums
is possible in 2017. At the same time, we want to have fun
that are to come will be clearer by the end of the year. We
and for that to reflect in the music. We are collective lovers
will also be playing a lot more shows and working on other
of cheesy pop and great choruses, the subject matter may
be heavy but we often embrace a poppier approach to song writing.
Words and illustration by Josh Whettingsteel
So Young Illustration Competition 3rd Place, Esther Lara (The Lemon Twigs), opposite, 2nd Place, Chiara Dal Maso (Sleaford Mods)
What’s going to be big in 2018? That I don’t know, dear
Their latest track Village Mentality is a lo-fi but all too
reader, but I can certainly tell you what will be good. 2017’s
necessary meeting of 80s Bad Seeds, The Cramps and the
been a golden year for the music scene in South London,
League of Gentlemen.
the most exciting bands in the capital have all made their presence known with a series of scintillating singles that
Brixton’s Gaygirl are a band that evoke much of the
have kept all eyes on the capital.
same unease, but shroud it in mist and fog. Instead of the obvious Fall sound that is prevalent in most of the scene’s
2018 will be the time of reckoning for all these bands;
bands, Gaygirl sound as though their record collection
Shame’s debut album Songs Of Praise is to open a year
is full of early Cure and Cocteau Twins albums. Their
of album releases on January 12th, whilst Goat Girl have
noodling melodies intertwine with the ghostly vocals of Bex
confirmed that their album is ‘finished’. Whether these
Morrison, whilst huge atmospheric guitars that call out to
bands can deliver on their first few singles will be a bit part
the wind, howling cathartically like wolves to a full moon.
player in End of Year lists the globe round, and whatever HMLTD do next is sure to keep all eyes on them.
But 2018’s finest upstarts shan’t belong strictly to the capital. As always, if you look north for music you’ll
But what else is going to burst out of the capital? If the
invariably find that Leeds has one of the country’s finest
sweaty, rabid sounds of the Fat White Family (who also
music scenes. The biggest name to focus on is Drahla. This
have an album out this year) are what you need more of,
deadly three piece make a hell of a racket, the thunderous
look no further than Nervous Conditions. A garage rock
guitar clattering makes them almost the Yorkshire city’s
band that spew out the same kind of bastardised blues punk
answer to the Big Apple’s Parquet Courts.
that The Birthday Party do.
Words by Cal Cashin, illustration by Josh Whettingsteel
From the same scene are Mush, an art rock group whose
With a British music scene that’s so strong, it’s easy to get
penchant for the witty and deadpan is akin to Pavement.
caught up in that island mentality, but elsewhere across the
Angular grooves and lyrics that make light of the everyday
globe, there is of course a bunch of great groups on the rise.
ensure that they’re force for good. Meanwhile, their pals
With a cluster of incredible singles, Aussies Confidence
Treeboy & Arc make a much more textural affair, as dream-
Man are among the most exciting pop upstarts about. Songs
pop squalls fester beneath romping post-punk furore.
like “Boyfriend (Repeat)” and “Better Sit Down Boy” take the sharp post-punk disco of LCD Soundsystem and vent it
Further north lies something all the more bizarre;
through a bubblegum pop filter. One of the most genuinely
queercore garage scuzzlords Queen Zee and the Sasstones
fun artists on the planet, Confidence Man are simply getting
present themselves as both a voice for queer alterity and
otherworldly garage rock groups. Lightning guitars licks simmer, whilst frontwoman Queen Zee’s otherworldly
Meanwhile, in Canada beavering away is Ought, who are
cybergoth presence and rallying cries of powerful phrases
admittedly getting onto their third album now, unlike the
like “raise your sissy fists!” make them one of 2018’s most
rest of these bands. But their new album Room Inside
inspirational artists. Anyone that sees this band live will be
The World will arrive in February, a much more textural,
at least a bit inclined to start a band of your own.
considered follow up to their overlooked album of the decade contender Sun Coming Down. Angular, David Byrne-like lyrics, delivered by a frontman who looks and sounds like Special Agent Dale Cooper ensures they’re the band you really need to keep the closest eye on this year. Meanwhile, in Basingstoke, Hampshire, cosmic slackers Drug Store Romeos gear up to release their debut single. A three piece whose spectral guitar lines and jangling key parts make them sound like The Cocteau Twins reborn, whilst the cover of Suburban Lawns’ “Janitor” that frequents their live sets is an utter joy. Oxfordshire’s Haze spit out Birthday Party lite guitar tunes like they’re going out of fashion, whilst Peeping Drexels remain one of London’s premier country garage provocateurs. 2018 looks to also see the likes of the capital’s Toothpaste and the South Coast’s Mystic Peach look to emit some of the dreamiest sounds this side of the 80s. 2018 already shows more promise than a prospective Wes Anderson film about an island of dogs.
Year of the Goat If we look at 2016 as the introduction of Goat Girl, we can
Song of the year
approach 2017 as a year of growth. The band have refined their sound with each passing day and certainly with each
Greeney Blue by Mellah
release. Avoiding all gimmicks, the girls have notably held
Little Boring Thing by Jerkcurb
complete control of all they do and with that have earned a wealth of followers who share a love for their art and
Visual artist of the year/favourite exhibition you went
approach. Clottie Cream, Rosy Bones, Naima Jelly and
L.E.D. have released two singles with Rough Trade this year and to critical acclaim. Before we head into what could
Miguel Casarubias, CC Wade, Flo White, Holly Whitaker
be their defining year, we thought we’d take a look back to 2017 with the band and discuss musical and global progress.
Film of the year
Was it a year of progress?
I haven’t been to the cinema in ages. Maybe I’m a philistine.
Of course, it always is. You live, grow and maybe record an album among other more normal things. Self development
The Snap Election, was it worth it?
etc. I’m not a politician so I don’t know, but it’s positive to see Best Goat Girl Gig of the year
the left becoming the left again.
Tough, but it has to be Halloween at The Windmill.
The rise in sexual assault allegations, are people finally finding their voice?
Best Festival moment I sure hope so but unfortunately I think there are many When the cooker exploded at Latitude. They thought it was
other victims who still feel they cannot come forward, or
a bomb. Maybe Dan who gave us the old gas was trying to
simply don’t want to bring attention to themselves. Which
I understand and respect. It can be difficult when there are men who don’t understand sexual boundaries in high
Best new band
positions. You do what you have to as a woman which is very sad, even if that means keeping quiet.
Black Midi, Milk Disco, Nervous Conditions What’s to come in 2018? Album of the year Love light vibes, good times and flying high into the sky. Sneaks - It’s a Myth
Words by Sam Ford, illustration by Nick Dahlen
So Young Illustration Competition 4th Place, Valat Ampavat (King Krule), opposite, 5th Place, Aysha Tengiz (David Bowie) So Young Illustration Competition 5th Place, Izabela Piotrowiak (Morrissey), opposite, 4th Place, Aysha Tengiz (David Bowie)
Honey Hahs Despite their eldest not being old enough to buy scratch
With Steve Mackey also masterminding production on
cards, the Honey Hahs have been lauded as the next great
their first album, expected to be released before the end
hope of British music by those lucky or ‘in the know’
of 2018, the Honey Hahs face an acid test of sorts- will
enough to have seen them play in any one of South
their cherubic harmonising and ear for melody be enough
London’s back alley venues. Having started by busking
to win over the cynics willing to cast aspersions over their
with their dad (the equally fantastic Flame Proof Moth)
credibility as legitimate musicians- whatever their age? On
on the Southbank, the three Peckham based sisters have
the basis of tracks such as the stunningly catchy-yet-dark
rapidly worked their way up the proverbial musical food
Beer Fear and aforementioned first single OK, it certainly
chain, signing to Rough Trade earlier this year, and quickly
releasing the Steve Mackey [Pulp] produced single ‘OK’. Singing in harmony, with their socially conscious lyrics
How did The Honey Hahs start off?
belying all age-related expectations heaped upon them, the band often appear to be standing alone, crooning lullabies
It started off as Rowan writing her own songs and then me
of youthful innocence and naivety into the abyss of an
and Robin started harmonising on them, but now we all
increasingly cynical world. But it is within this world of
write the songs together. We also busk on the South Bank
profiteering and indescribable atrocity the Honey Hahs
which gives us confidence in front of crowds.
have flourished. Rather than simply being overshadowed, or appearing out of place among their world-wearier
How do you write your music?
contemporaries, they provide a welcome tonic to the soul akin to the first sip of water after a lengthy spell in the
Usually, we make up the tune first and then add singing and
desert. It is the essence of their naivety that makes them
words. There is no certain system.
both so accessible and so brilliant in the same stroke. Bringing a sound somewhere between the bittersweet
What would you say are the main influences on your
introspection of early Laura Marling and the unbridled,
carefree excitement of the Shangri-Las, at the time of writing they are on the brink of playing a huge
Friendships and films are some of the themes.
Electric Brixton show supporting The Moonlandingz. This superficially bizarre pairing is perhaps the most
Do you find people within the music industry treat you
apt representation of the yin-yang balance between the
differently because of your age? Is this a positive or a
depraved and the wholesome the Honey Hahs could hope
to give. Whilst the main act on the night may provide the absurdist antics to give the crowd the adrenaline and self-
Yes, they do treat us differently. Sometimes we’re just
loathing they desire, it is the first band on the bill who will
treated like stereotypical kids. It can be both positive and
supply the songs you share with your friends and loved
ones, the life affirming simplicity of a sound played without pretension or outside influence- one that is timeless, but
What was it like working with Steve Mackey on your
entirely its own.
single? We giggled a lot.
Words by Dan Pare, illustration by Alan Fears
Pip Blom I’m Pip, from Amsterdam and I guess we make ‘lo-fi indie pop’ Can you tell us something that you collectively really love? We all really like carrot cake. Man, I really, really love that.
Haze We are Haze (Will/Ollie/Conor/Dan), from a small village in the English countryside, now dispersed across Bristol, Nottingham and Oxford, and we make dissonant, unhinged music, which is usually a bit tongue-in-cheek.
Can you tell us something that you collectively really
We’re painfully neurotic people making similarly restless
love? Moving from the country to the cities has made us realise our love for our local pubs. There’s not much happening in them but you can always actually get a seat and a proper local pint.
music out of London. What led you to form a band? A particular happening or mutual love for a record or sound? An animosity towards gimmicks and lazy songwriting.
Can you tell us who you are, where you’re from and
We’re Niall(guitar), Andrew(drums) and Aoife(bass,vocals).
about the music you make?
We’re from Limerick in Ireland and we write melodic pop songs with a punk influence. We try to be honest, writing
We’re Drahla from Leeds/Wakefield. I’m Luciel Brown
about our current situations and how the world makes us
(vocals/guitar/bass), Rob Riggs on vocals/guitar and bass
also, and Mike Ainsley on drums. The musics most often described as post punk, though we don’t necessarily feel as
How did you find each other?
though we’re conforming to any specific genre. When we were teenagers we would go to the only indie Can you tell us something that you collectively hate?
disco in Limerick called Costello’s. We’d sneak in vodka in our trousers and get drunk and dance.
Adults Can you tell us who you are, where you’re from and about the music you make? We’re 5 young males from North London desperately trying to retain an ounce of youth in a city that’s cruel to its young. We sound like Morrissey on downers. What led you to form a band? A particular happening or mutual love for a record or sound? Teenage Fanclub’s Bandwagonesque made me want to write about relationships that hadn’t happened yet, and made me nostalgic about moments that someone else had lived.
George Rouy, opposite Michael Cox
Starcrawler Email interviews are never going to be the most exciting
There seems to be a sense of humour in the music, is that
fixture in a band’s calendar, but the fact we had to ask
important to you?
Starcrawler to put a bit more gusto into their answers could be a testament to their sense of youthful restlessness. I
Yeah, if you’re not having fun playing or having fun on the
mean, it’s easy to see why one of America’s most exciting
road then you could ask what the point is. Well I mean I
emerging prospects don’t want to be stuck behind a
don’t think anyone would want to do this if it wasn’t fun, so
computer. Maybe they had raging hangovers? Maybe it
yeah. That’s the main thing we want to do I think is to have
was a nice day in Los Angeles? Maybe they’re just a bit
arrogant? Who cares though, spin any of their tracks and there’s a clear urgency and sense of fun going on under the
Is there a particular drive behind the band or anything
surface. It’s very much the live shows which has prompted a
that you want to achieve?
certain buzz around this Rough Trade signed band. On track they only capture a slight degree of what they are capable of
Playing to receptive audiences is one of our key motives,
in the live environment and it’s still ace. A glimpse through
traveling to fun places, meeting good people and making
their social media channels portrays a group who’d have
money, definitely money. I know that’s not what people
liked to have been around in the seventies. Although as our
want to hear but it’s the unspoken truth of rock bands. We
brief catch up discovers, it’s not so much this, but them
all want a good time and to make music, but we also all
coming together that naturally creates this kind of bombast
vintage dynamic. But with their debut album arriving at the beginning of 2018, Starcrawler caught attention in all the
It must be super handy being under Rough Trade, was
right places. And well, when Ryan Adams is producing your
that a bit surreal?
first record there’s going to be a certain lofty expectation on your shoulders. Although this band aren’t here to win
Definitely. Rough Trade was always a dream of mine, so
awards for artistic integrity, they’ve got the good old
making that dream a reality was pretty crazy. Very surreal
fashioned approach of stuffing your money in their pockets
indeed. I remember being quite young and going through
and blowing it on good times. While some might see this
Rough Trade catalogues online. It’s surreal to be a part of
as a bit vulgar in the music industry today, at least they’re
something that you used to only look at.
not lying about their motives. Starcrawler aren’t just taking on-board the aesthetics and sound of the seventies, but also
Where do you find influence? There’s a bit of a vintage
some of the ideologies of the period with them. Regardless:
thing going on there…
here’s the two takes worth of effort that went into our email I wouldn’t call it a vintage feel. We all have different styles
and when they come together they just seem to mesh well. You’ve been stealing hearts with your live show, has that
I suppose that’s what makes us a modern band. We do have
always been a focus?
that past influence but with a modern sound. We’re just ultimately ourselves really and I guess it comes off that
Yeah we have a commanding presence when we play, so our
shows are really visually stimulating. It’s become a big part of our dynamic really.
Words by Rhys Buchanan, illustration by Ben White
Spinning Coin Spinning Coin are a band with serious Indie chops. Signed
We just wanted to tour and take it to as many people as
to Geographic (Glaswegian indie legends Stephen Pastels’
possible. We’d done little tours to Manchester and places
Domino imprint) the band have toured with Teenage
and wanted to play as much as we could…
Fanclub and recorded debut album ‘Permo’ with Orange Juice frontman Edwyn Collins. We caught up with Sean and
What was it like recording with Edwyn Collins?
Jack (the band’s two main songwriters) in a Burrito place round the corner from Scala where they’re supporting Girl
Jack: It was amazing. He and his wife live at the bottom
Ray; to talk Glasgow, gigging and why melody is nothing to
of this remote hill in the highlands, and the studio is at
be scared of.
the top of the hill, with a view of the sea and the hills and accommodation for the bands. It’s just very calm and
Hey Spinning Coin. So, tell us the story behind the band.
beautiful and they were incredibly kind to us.
How did you all meet – were you mates before the band You lot seem to have had worked with a who’s who of
Scottish indie legends. You also toured with Teenage Jack: None of us really knew each other before the band.
Fanclub right, how did that come about?
We met through the Glasgow music scene, we didn’t grow up together or anything like that. I Knew Sean’s sister
Jack: Norman from Teenage Fanclub is around Glasgow a
before I met him, I think the first time we met was probably
lot at gigs. I had bumped into him at a pub, and then Sean
bumped into him again and I think he’d heard one of our songs at this point.
Sean: I didn’t grow up in Glasgow, I grew up in the highlands then came to Glasgow at 18 to do a degree, but
Sean: I emailed after and asked if we could support them at
dropped out pretty quickly…
Barrowlands, which he didn’t reply to for a long time, so I think we thought that was probably not going to happen.
It seems strange that there aren’t more bands you hear
Then got in touch to offer the entire tour.
of coming out of Glasgow, besides you lot I can’t think of There seems to be some similarity between you and
many that have broken through recently…
Teenage Fanclub in how hyper-melodic everything Jack: The Glasgow band scene is very different from
sounds. Is that something you’ve tried to work in to the
London. Mainly bands aren’t in it to make money – there’s
Spinning Coin songs?
less expectation, I think there’s that sense of removal. Some bands might only play gigs once or twice a year and there
Jack: My previous band was about making the loudest,
isn’t the same reliance on promoters. If you want to play a
weirdest music we could. Butthole Surfers kind of stuff.
gig you just have to ask a band to support them.
But then I think having done that for a while, I wanted to do something a bit more melodic. And to open myself up
Why do you think you’ve emerged from that scene,
more with the lyrics. You see a lot of post punk bands and
where others haven’t?
it’s like, there’s nothing inherently new about being loud and brash. I think bands like Alvvays and Angel Olsen are amazing, and are making really exciting new music.
Words by Rob Knaggs, illustration by REN
Jerkcurb The visual arts and music have been eternally entwined.
I have met lots of creative people in my life, but none as
After all, when you think of an iconic album, the first thing
committed or obsessed as them when it comes to their craft.
that comes to mind is the cover art, right? But with Jacob Read aka Jerkcurb, the line between visual and aural art is
We were influenced by early Twilight Zone, The Night of
much more blurred. The South London illustrator makes
The Hunter, and films that use matte backgrounds and in-
woozy guitar pop, in which he creates his own world, not
camera effects. My dad’s an oil painter and we shot a lot of
just through music, but through his illustrations. Both the
it in his studio in Camberwell, as well as in our bedrooms,
music and illustrations exist in the same realm, where the
with the help of many friends. The desert was all shot
urban and the surreal meet, and for that reason, very few
in their dads flat in Elephant, using plain flour for sand,
artists are as successful as Jerkcurb in actualising their own
miniature models, and video cassettes placed underneath a
dust cloth to form mountains.
Your most recent track, Voodoo Saloon dropped last
Am I right to say you and Archy Marshall go way back?
month. Can you tell me a bit about it? We are neighbours and have been for as long as I can I wanted my second 7 inch record to have a very different
remember. We went to school together and at some point
feel to my first one. Night On Earth was a love song, meant
were in a band together. There was one show we got booked
to be calming, but I wanted to explore something darker
for in Hoxton years ago, where we played fruity loops
with this one. To me, a song is usually a manifestation of all
drums off an old Toshiba laptop. It was terrifying. It was my
of my thoughts and interests over a specific period. I had an
first exposure to the music world, being booked, playing in
image of a house out in the middle of a desert, and wanted
front of strangers. I took a 3 year break from music around
to explore what it would sound like to stumble across it,
the same time to go to art school and learn how to be an
through fate or coincidence. What goes on there? Musically,
I had this 12 string guitar, which was very abrasive and harsh, and wanted to try and gel it with soothing vocal
Your art strikes me as presenting a cross between the
harmonies. Each section of the song is separate in tone,
urban and surreal. Do you find that your illustration
quite different, never repeating, and I had fun working
influences your music? Or the other way round?
out how they could connect to each other. Like a journey I could never listen or concentrate in school unless I was
between different rooms of this house.
drawing. It’s a way of processing information. One stimulus Can you tell me a bit about the video?
opens up the portal to the other. It’s the same way now. Like two wrestlers, they provoke and taunt each other, my brain
I knew certain visual characteristics early on. It had to
being the oil that slides off their naked bodies as they fight.
be in the desert, but a kind of fictitious desert, cartoonish
I love doing both and when one frustrates me the other
purgatory. Like Courage the Cowardly Dog or something.
offers contentment and release. I am lucky to have a dual
Primary reds and primary yellows. Michael & Paraic (CC
passion, but it’s also a burden. I sometimes wish I could
Wade) are two talented filmmakers who happen to be my
focus 100% on one of them.
best friends, and who I’ve grown up with.
Words by Cal Cashin, illustration by Spit Tease
So Young Illustration Competition 7th Place, Robin Renard (Mark E Smith), opposite, 6th Place, Ian Moore (Sleaford Mods)
So Young Illustration Competition 9th Place, Dominika Chmurzynska (King Krule), opposite, 8th Place, Stefano Summo (The Clash)
So Young Illustration Competition 11th Place, Aiden Barefoot (David Bowie), opposite, 10th Place, Andreea Dobrin Dinu (Wolf Alice)
So Young Illustration Competition 12th Place, Darren Shaddick (Parquet Courts), opposite, 13th Place, Bird Pit (S.W.Kim) (King Krule)
So Young Illustration Competition 15th Place, Peach Doble (Goat Girl), opposite, 14th Place, Jo Mendel (Hinds)
So Young Illustration Competition 16th Place, Abby Mcmillen (Pixx), opposite, 17th Place, Elliot Shah (HMLTD)
So Young Illustration Competition 19th Place, Yuki Sato (The Smiths), opposite, 18th Place, Jack Coles (The Big Moon)
So Young Illustration Competition 20th Place, Marie Watanabe (Savages)
Rob Knaggs Josh Whettingsteel Harley Cassidy Georgie Jesson Sam Ford Cal Cashin Dan Pare Rhys Buchanan
Josh Whettingsteel Carlín Díaz Jay Cover Ricardo Passaporte Ed Burkes Kyle Platts Chiara Dal Maso Esther Lara Nick Dahlen Aysha Tengiz Valat Ampavat Alan Fears George Rouy Michael Cox Ben White Alfie Kungu REN Spit Tease Ian Moore Robin Renard Stefano Summo Dominika Chmurzynska Andreea Dobrin Dinu Aiden Barefoot Darren Shaddick Bird Pit (S.W.Kim) Jo Mendel Peach Doble Abby Mcmillen Elliott Shah Jack Coles Yuki Sato Marie Watanabe Igor Bastidas
Photos for Collage
Sam Ford Josh Whettingsteel
Ex Why Zed
@soyoungmagazine (Twitter) SoYoungMagazine (Facebook) soyoungmagazine (Instagram) soyoungmagazine.tumblr.com
Holly Whitaker Jim Tobias Rowan Allen Brian Sweeney Aubrey Simpson
Special Thanks Samuel Huxley Cal McRae Jamie Ford
Opposite, Pixx by Igor Bastidas
Here we are, our final magazine of 2017. A year of scenes, scandal and a snap election. We now look forward to 2018 with an issue that serve...
Published on Dec 10, 2017
Here we are, our final magazine of 2017. A year of scenes, scandal and a snap election. We now look forward to 2018 with an issue that serve...