So Young Issue Forty-One

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Issue Forty-One is our final magazine of 2022, and we see the year out with a band who have grown into one of the most exciting prospects for 2023. Lime Garden are on the cover. From support slots with Idles, Katy J Pearson and Yard Act, to selling out their debut UK tour in November, it’s no surprise that they’re keen to keep up the momentum and have started work on their debut album. The world wants it. We chat imposter syndrome, karaoke bars and rocking until you’re grey. The Murder Capital have released a string of singles from their upcoming new album ‘Gigi’s Recovery’. This record bids to add greater depth of sound whilst maintaining the spirit and energy that we’ve all come to expect from the band. They meet us at the pub to talk about growth, mantras and healing through art. London’s DEADLETTER have just spent some time on the road supporting Placebo. With 8 days notice, they packed their bags and played to crowds that most only dream of. We caught up with the band in Paris and frontman, Zac filled us in on the tour, their new EP ‘Heat!’ and dreams of Glastonbury. Another London band we are getting excited about are Tapir!. We’ve not stopped listening to their debut EP ‘Act 1 (The Pilgrim)’ and we got in touch to discuss The Pilgrim, their relationship with Folk music and their beloved George Tavern. Also in the capital, via Portsmouth, is Jessica Winter.

3 Humour Pure Misery 8 Lime Garden Bitter 15 Jessica Winter Choreograph 20 The Murder Capital Gigi’s Recovery 24 NightBus Music for the night time 29 She’s In Parties Cherish

Alongside a busy period of producing for other artists, Jessica Winter is about to release a new EP. We discuss the themes within it, musical persona’s and the barriers within the industry. Not too far from town are Essex band, She’s In Parties. Although only three singles in, the band have been grabbing the attention of many and we wanted to know more. Their formation and online scenes are on the agenda. In Glasgow, Humour have just released their debut EP ‘pure misery’. Pairing their post-punk and post-hardcore fusion with an outstanding live show, it feels like they’re onto something. We give them a call during the inevitable work grovelling period that follows a European tour. We are excited to introduce three brand new names who have relatively little to no music to their name just yet. Bristol’s Quade make ambient, electronic soundscapes in the band format. At this moment, NightBus only have Instagram and a couple of shows to their name. We are told music will follow soon, and from what we’ve heard privately, it’ll be worth the wait. And to finish us off, new Nice Swan signings, splint have a revolving door of band members, but ever present frontman, Jake Bogacki takes some time out to introduce the band and their plans to us.

36 Sneaks Boxed In 37 Quade The Balance 42 splint 145 45 DEADLETTER Heat! 50 Tapir! Act 1 (The Pilgrim)

With the industry today resembling that scene in

Before we went to Europe there were a few French

Spartacus, as countless bands proclaim that they are

reviews that needed translating, so we were trying to work

post-punk, five dudes from Glasgow are the real McCoy.

out what they were saying about us before we arrived.

Humour formed over lockdown, and in between watching parkour compilations and paying the rent, they’ve found

Andreas: One said ‘Humour are a fucking post-punk band,

the time to release their debut EP ‘Pure Misery’ and

and they’re no joke’. So we’ve adopted that as our slogan.

perform over on the continent. Residing somewhere in the middle of anthemic and absurd, the refreshingly self-

You all live together. Do you walk through individual

aware sound Humour produce is one which will set them

doors like The Beatles do in Help!?

apart from their contemporaries. They agreed to take time out of a schedule busier than Skehans on a Saturday, and

J: No we don’t. I guess we could but the layout of the

spoke to me about decoding foreign reviews, house-share

house isn’t very good for that. When we’re playing in

politics, and the lyrical genius of bad country music. I was

other cities and have got to walk over a zebra crossing, we

relieved to find out that frontman Andreas is capable of

do worry that we look like the Abbey Road cover, so we

speaking at a normal volume, and doesn’t shout everything

all kinda separate and spread out.

like he does in the songs. Who’s the worst at buying communal things for the How was your weekend?

house, like bin bags or butter?

Ross: Very quiet, we’ve been trying to keep our jobs

A: Probably me, I just use everyone else’s stuff and slyly

happy after being away for quite a while, trying to get

never buy it.

back to it and make sure they see that we’re there before disappearing again when we need to.

J: There was a bit of cheese missing at lunch, we had a bit of a freak out about where the cheese was…

You’ve been playing quite a lot of shows supporting the EP release. How’s that going?

A: I think that was me.

Jack: Yeah good, we just got back from France where

R: Was definitely him.

we did three gigs there. It was amazing, we didn’t really What’s a typical night out, or in, for you guys? If you

expect much but they were really busy.

decide to do something all together that’s not related So, you’re called Humour. Can you tell me a joke?

to music.

R: This is the first time we’ve been asked that, but it

J: We watch like, YouTube videos…

shouldn’t be really.


Words by Charlie Brown, illustration by Harry Wyld

R: Have you seen STORROR, that parkour group on

You’ve previously said that your songs ‘yeah, mud!’


And ‘pure misery’ are about the pressure ‘to have something important to say, and realising that you don’t’. How do you approach messages in your


songwriting? R: It’s really important that you watch that. A: I think there definitely is a lot to say and a lot of A: I think it was in lockdown that we started watching it

important issues to talk about, but we just thought it isn’t

and for about a year we didn’t miss a single episode.

really important that it comes from us. It does seem like there are a lot of bands who make similar music, who

R: Thinking back to that time, that parkour group was the

don’t necessarily have something to say but present as like

only thing I cared about.

really intense and important. It’s like there’s a delivery of a message, but not much substance.

Are you watching it ironically? J: It’s a weird thing about the genre, about post-punk, or J: I think it started as that and then we realised we actually

punk generally, that there needs to be a message. There’s

liked parkour. The problem is it made me want to try it but

such a wide range of angles as to what a song means, I

that would be too embarrassing.

think it’s silly to think that there’s one that’s true.

R: You get quite invested in the dynamics of the group,

R: If we were ever going to do something we felt proud

there’s one really shit guy that we won’t name, and there’s

of, I don’t think it was ever going to be like, virtue of the

good ones, it’s like a reality TV show… I can’t believe

message that we managed to portray.

that’s what we’ve gone for, for what we do in our spare time.

What do you guys think of the band Cola?

You’ve recently been doing a lot of interviews. What

J: Yeah, I really like them, they sound just like Ought. We

question do you wish you’d been asked?

saw Ought once in Glasgow didn’t we? It was very good.

J: I guess we don’t like questions that are too serious.

I really wanted to see Cola at End of the Road this year but I couldn’t make it. Did you guys do any festivals

R: It’s tough though, cause we definitely wanna stay away

this year?

from Humour as a slapstick, quirky post-punk band. But then also, for quite a while I think everyone thought of

R: We did some multi-venue festivals in some cities across

us as being a really serious band with a really serious

the country, and Left of the Dial in Rotterdam a few weeks

method, so we wanna get away from that too. People

ago which was just amazing.

assumed there was a political message, and there’s not, so One of the sets we played this summer was in a gym,

serious questions were worse.

and everything was powered by people riding cycling You take inspiration from a lot of American bands. Do

machines in front of the stage.

you wish you had formed over the pond? Have you got anything lined up for next year? A: Because we’ve not played there I don’t know how we’d be received. I don’t even know if we’re that similar to

R: We are starting to get busy now. Our focus has been on

the bands that we like and have referenced. It’s funny, it

putting this EP out and introducing people to the band, I

seems like we’re a bit more well received in London than

don’t think we anticipated how much stuff you have to do

in Scotland, but you never really know.

to put music out.



Do you guys have a guilty pleasure when it comes to

R: You should check out Luke Combs, he’s got some


pretty good stuff.

A: Coldplay, but there’s nothing guilty about that. We got

Andreas, you work with lino as a printmaker, and I

quite into new country music.

understand you do the artwork for Humour. Have you ever made the artwork first and let the music follow?

I heard a song the other day called ‘Drinkin’ Problem’ by Midland, do you know it?

A: It’s usually always music first. I mean especially with this EP I hadn’t originally planned to do the artwork, it

R: No, but we’re always open to new recommendations.

was actually the label who… they had seen something that I had done and asked if I wanted to put together some

That new Americana sound is almost a pastiche of

ideas. It’s always music first and I find it quite easy to


come up with a visual idea, I just use the same themes or imagery that I was using for the song.

J: Yeah, it all seems to be like that, we didn’t realise how That’s all my questions answered, thanks for chatting.

much of it exists.

Do you have a final message for me or the readers? R: I thought it was a parody but it’s very much not. The singers are like celebrities…

A: I’m not good with messages. Sorry we didn’t have a joke.

A: … and in every song there seems to be a funny line about drinking beer.

R: We did this whole interview just to tell you we don’t have a message or a joke, basically.

In that Midland song, every single line is like that.

@ h arry.wyld


As we’re sat outside The Lexington ahead of the London

But perhaps that’s the key thing to take away from it all.

run of Lime Garden’s debut headline tour, two things

100 cap venues may not pay the bills, but the opportunity

slowly begin to dawn on us all:

to travel up and down the country with your best mates – chatting shit, meeting new people, and making new

As a collective, the five of us are completely incapable

friends along the way, that’s what it’s all about. And with

of maintaining a linear trail of thought for more than two

Lime Garden, there’s always the guarantee that despite

minutes at a time.

all the late nights and long drives, once they’re on that stage, all inhibitions for both the band and audience alike,

Things are about to take a massive turn in the upwards

completely melt away.

direction for Lime Garden, as they gear up to begin I’ve been trying to remember the last time we spoke... I

working on their debut album.

think it might’ve been Rotterdam? At Left Of The Dial. Having spent the best part of lockdown, and the inevitable head-rush that’s been the post-pandemic catch-up,

Annabel: Ahh yeahh... we were so tired. Running on no

perfecting their signature blend of surrealist relatability

sleep and free drinks.

and infinite cool, Lime Garden rapidly became the charismatic favourites on every bill, and every festival

And then you went on to play Eindhoven the following

stage the quartet could physically find the time to appear


on. A spectacularly impressive feat from a group whose lyrics cover topics such as longing to fit in (‘Marbles’)

Tippi: Yeah! We met Gus Englehorn who I’d just like to

and the cyclical loops of emotional dread we all face at

shout out. He’s a legend. It was just us, Gus, and one other

some point (‘Clockwork’).

band that played... I was actually listening to him this morning.

Whether it’s the onslaught of proud family members trying not to embarrass them too much as they walk past,

Leila: We’ve been stalking his Instagram. He travels

or the gift of Stroopwaffles from a kind Dutch fan who’d

solo with his wife and one of their captions was: “Stuck

travelled all the way to the UK to catch their set, there’s

together like molasses.” They’re too cute.

something obsessively gravitating about Lime Garden that you just can’t seem to shake off.

T: He has a song called ‘Tarantula’ that only has fifteen words in it... and it makes no sense.

“Those are better than the ones from Starbucks” drummer Annabel Whittle muses as the fan scurries inside to get a good spot, and we pick up our rants from where we left off.

Words by Al Mills, illustration by Pamela Guest


‘Tarantula’ like the Pendulum song? I wore their

L: Right? Even when we were in Dublin this weekend,

t-shirt to a non-uniform day once and some year nine

there was a whole room full of people singing. It was my

said I looked really cool. Stuck with me that did.

first time in Ireland so the whole situation was mad.

A: It’s the small things in life that matter!

Do they sing the correct lyrics back?

I don’t think I’ve ever known you not to be between

C: No! I made eye contact with this girl in Dublin and we

gigs. You never stop.

were having a moment, but she kept fucking up the lyrics. It was so good. She had so much commitment to it- we

A: This year’s been mad- since May it’s been pretty much

were both having the best time.

non-stop. I’ve just moved into a new house and I’m like... I’m never here. This is so silly. Why am I paying rent??

When’s the right point in your career to start bringing people from the crowd on stage?

That’s a genuine stress though! You get so sucked up into the routine of touring- especially the lengthier

C: We actually did that at The Boileroom haha. Everyone

stints, that you forget there’s a whole other life back at

got on stage. It was chaos. The stage was wobbling, there

home waiting for you.

was beer everywhere...

Chloe: My mums just walked past and I feel like I can’t

L: I think there might be a video of it. I couldn’t get to my

ignore her... Love you mum!!

pedals, it was mad.

Is the whole fam down for this one?

I’ve always loved it when bigger bands bring their support on for a song. When it all becomes a bit of a

L: Yeah my dad’s coming... and my sister...

bonding exercise...

Does it help to know they’re there?

A: The start of many supergroups.

A: Omg no it’s the worst. Horrible. You know you’ve got

Maybe that’s the ten-year plan? Just start loads of

to do the best performance ever ‘cos like... you’re working


as a musician, performing for no money... you’ve got to show them this is what it’s all for!

A: We should do one with Keg.

T: We’ve only played Liverpool once, which is where my

*everyone*: YES.

family are from. My dad’s also a bass player so he’s super nit-picky. It was the worst show we’ve ever done. To like

A: We’ve just crossed paths with them so much. They

ten people.

seem to play all the same festivals. We’re always somehow next door to them in every hotel. They used to

Makes the memoirs all the more exciting. You can look

live in Brighton as well.

back and wonder... where are those ten people now!? C: Can’t get rid of them! C: We actually met two of them the other day! You mean all those streaming figures are real life people too?


L i m e G a rd e n

Who’s the one that looks a bit like Jesus?

L: It’s fun to know so many bands in similar positions, who are all our age too. Meeting new people... going

A: Will!

everywhere, seeing them everywhere. It’s so cute to have that connection.

I saw a karaoke video from Left Of The Dial with you guys and Folly Group. That to me is a supergroup

It’s that catch-22 though isn’t it. It feels like you’re a


part of something, but how can you actually know you are whilst it’s happening?

A: Definitely! Humour were with us as well... and I think some of Hotel Lux? The Dutch people weren’t having it.

C: Yeah! I think that’s always the case.

C: I didn’t know what the vibe was gonna be... we had to

Is it though? With social media these days, it’s

pay 10€ to get in. It was good though! For our moment.

harder to have that retrospect because you’re seeing everything unfold in real time.

A: It was. I didn’t know the words to ‘Don’t Look Back In Anger’ though.

C: That’s true. Growing up I never in my wildest dreams thought that people would be looking back to the 2000’s.

I don’t think you need to. They’re on the big screen. A: I remember thinking the fashion sucks... the music C: I think Folly Group’s manager bribed the DJ to let us


skip the queue by drawing a “20” over a 5€ note. That’s proper management that is.

L: And now we’re here with our little baguette bags.

It’s mad to think how far So Young Records has grown.

A: Y2K baby!

You guys and Folly’re basically heritage acts at this point. You’re not the newbies anymore.

C: Spice girls, put it on. Sugababes!

L: Which is crazy ‘cos we were basically So Young super-

L: Aren’t they rumoured for Glastonbury?

fans. We were obsessed. The Legends slot? A: I remember when we released ‘Surf ‘n’ Turf’ we got So Young playlisted and went out for drinks.

A: It should be really.

C: All our mates were buzzing. It’s very surreal. I think we

Wasn’t it you guys who played before Rick Astley at

used to DM them our singles...


It feels like such a cemented era in time... even though

A: Yes!! His secret set. We walked past him but he had a

it’s only been about two years that the label’s actually

facemask on. It was mainly covers he performed.

existed. It’s wild how far everyone’s come. C: He did Foo Fighters. C: It’s really cool to be a part of something. When you’re growing up loving music... and you look back at all the

L: And no Rick songs... iconic. Our proudest moment.

scenes like the ‘70s, ‘80s... to think people will look back and think of So Young as a period of time; it’s exciting to be a part of it.

@ p amelaguest_


You’ve had your fair share of mad support slots.

L: It gets worse- because you’re put in different rooms.

You’ve done the rounds!

Always looking back on the scary sized room before thinking ‘I wish we were back in there’.

C: We have. The first proper support tour we did was Katy J Pearson which was a vibe. It was great.

C: Also, with this tour we’d never done a headline run before so we were super nervous. It’s been great, but we

A: And we had Idles at the beginning of the year which

were doubtful. It’s surreal.

was crazy. That’s the thing though, we’re in an industry that’s We should maybe talk about this album of yours that’s

built on normalising abnormal situations – like being

coming out? The single [‘Bitter’] is so good- feels

on tour, playing to a crowded room. It is surreal.

proper grown up? T: Literally every time before we go on stage we get such C: It’s our first serious, big boy song.

an adrenaline low. That’s not normal. And then we spike again after the show.

With a big boy music video too. C: Then you come back from tour and you’re expected to C: Yeah! We’re not even really in it.

continue with your day as normal. We always get so sad when we get back home.

A: Pretty big move from us there. But like, in order to get really good at something you have L: It felt really weird not doing a silly, sarcastic video...

to think about it all the time, practise all the time. With

which I guess says a lot about our confidence normally.

music as well, there’s a lot of pressure to consistently be doing something- and if you stop, you lose everything

C: That’s great though- a step in the right direction.

you’ve built. Which is also surreal.

Does it feel like a step in the right direction?

And in order to be able to do all those things, you have to exist, and live beyond the music too.

C: Definitely. Obviously putting an album out... it’s going to be all of our work essentially, up until this point.

C: We were talking about that Katy tour the other day- we

The soundtrack of the band so far. So, it should be more

would just get absolutely hammered every night. It wasn’t



We just have those overwhelming, continuous feelings of

L: I completely lost my soul.

imposter-syndrome all the time. It never leaves. C: I stopped drinking because of it. I found I was drinking A: I once thought that people at a gig were paid to be

all the time, which I had to step out of. So much of this

there. They were clapping really weirdly...

revolves around partying- and it’s so easy to get sucked into it when you’re young. But it can be the downfall of a

And the more you do it... the bigger you get, does that

lot of musicians.

get more manageable? Unrelated, but it’s actually been so nice to see so many young girls come to our shows. That’s something we really value.


L i m e G a rd e n

Had eight-year-old me seen the clip of you performing ‘Clockwork’ at the Reeperbahn Awards, I would’ve known at that moment what I wanted to be when I grow up. C: That’s exactly what we’re trying to do. We never had that. T: Knowing that there’s no time pressure to pick up a hobby is so important too though. Growing up I was always into music, always wanted to be in a band, but I thought it was too late. I was too old. I picked it up when I was eighteen. Being in music is really intimidating given how many great musicians there are out there. I’m always still learning and it’s so rewarding. I also think there’s more pressure on women to achieve everything young. T: Definitely. We were listening to Bananarama on Women’s Hour and that was really sweet. One of them had a baby not that long into their career, and she was saying once you’ve had a child, and you’re an older woman... that’s your “thing” now. But they’re still going. It’s so nice to see older women just carrying on with it. It’s almost as though the idea of role models is only associated with being younger, and looking up to people. The conversation doesn’t really exist as you get older- it’s like you’re expected to grow out of that, maybe because you’ve achieved it all by then. But that growth never ends. C: Just because you’re getting older doesn’t mean the growth is stopping. It’s so important. We’ll just keep at it. L: We’ll have grey braids and still be rocking.

@ p amelaguest_


Jessica Winter is an artist with an astounding talent.

It’s just like, how does that make me connect to you in any

Structuring her music around seductive melodies and

way? When you say “your skin is so soft” or, you know,

grooves, she wraps the bitter realities of her lyrical

just classic man to woman.

subjects in the sweet casing of a club-worthy dance track. Winter’s talents are evident through her work as half of

Just saying what they think they ought to say, rather

Pregoblin as well as her skills as a producer, but her solo

than actually paying attention to you as a person?

material makes the rest of her work fit together almost like a puzzle. Following a discussion of her recent rework of

Yeah, and then also having dates that felt like they

the Metronomy track ‘I lost my mind’, we spoke to Jessica

were made for Instagram. So in this very twee, place in

about authenticity, addiction and the steps she’s taking to

Waterloo I had this three hour date, and then the moon

challenge the music industry.

was out and it was just getting to midnight and he went in for the classic move of a kiss. That whole three hour

How different do you find working in production and

time I was trying so hard to connect to this person, but

reworking other people’s songs, to making your own

instead everything was so preplayed and pre-thought. So


now we do the kiss because this is what love is and this is romance.

I think it makes me a better songwriter in general, because when you’re only consumed in your own head things can

That got me all fired up, and then the other inspiration

get a bit... too introverted or self consuming. You can’t

was my brother, who’s gay. He’s found himself having to

hear the song how a listener would hear it. It’s nice to

choreograph himself as a person. And I feel like we’re all

drop your ego and think just purely “is this a good song?

doing that, we’re all trying to fit into these increasingly

Is this going to translate to someone’s heart?”

tiny labels that are becoming subdivisions of another division of another division. And I feel like in the LGBTQ

You’ve spoken about the fact that you spent a lot of

world it’s getting more and more like that. You have to

your childhood in isolation and I was wondering if that

be this, this kind of gay or this kind of gay. It’s becoming

isolated time affected your ability to see things from a

so controlled, and premeditated that it’s just creating

very different perspective, maybe in a way that other

depression and loneliness.

people don’t? It’s almost losing that humanity… Well, yeah, I never thought of it like that. Yeah, that’s probably sort of sounds like me.

Exactly! And just connection in general – because it shouldn’t matter, any of that. None of that should matter;

In your single ‘Choreograph’ I think the way you

it’s about soul to soul.

explore how people behave in a way that is assumed right, but isn’t necessarily authentic is really

Do you think that’s something that’s also reflected in

interesting. What led you to explore that theme?

your musical persona? Do you feel like you have to act in a certain way?

Quite a few different factors came into that song. One of them was going on a series of bad dates, where I literally

Yeah, especially because tech has just come in and told

was just being told some of the most classic lines that

you if you’re an artist, you have to do this.

were so obvious; do you know what I mean?


Words by Eve Boothroyd, illustration by Tuomas Kä r kkä i nen

And you have to do this every day. You have to post this

Knowing the two conflicting sides and trying to fight it,

every day. And you say, no, that’s the whole point. I’m

but giving up in the end.

trying to be a free thinker and trying not to be told how to be and to try and challenge that. Because it’s not okay,

There’s some really harrowing reflections in there,

what we’ve been taught to be over the last 100 years. It

particularly that idea of pretending to be someone that

feels like we’re going a bit backwards.

you’re not. There’s also this idea across the EP of not communicating effectively and not seeing eye to eye. In

You’ve said in the past that you feel like women in

‘Love Song’ you say “sometimes I think, I don’t know

music are commodified and put into boxes, to the

you. And I think you don’t know me too”. Is that motif

extent that once you’re out of your 20s people lose

drawn from your personal life as something you’ve

interest in you. Do you still think there is an industry

been battling with?

wide ageism issue? I think everything’s definitely drawn from a personal In one respect if you’re 18 then you’re gonna have way

moment. But it’s also trying to convey more of a broad

more years to make money for a company. I get that in

feeling of connection in general and how I am mourning

terms of trying to make a business money and stuff there’s

connection at the moment. And I think I’m blaming tech

always going to be that ageism. But definitely becoming

all the time for it. I guess I do struggle with that as well. It

an artist, and being a woman… you know, you are figuring

makes me awkward.

out who you are throughout your 20s and then, when you finally feel like you’ve reached your craft, and you’re like

You’ve worked with organisations such as Extinction

“yeah, I know what I do now”, then it’s like, alright, no

Rebellion and Hate Zine in the past. I was wondering

one’s interested. See you later.

what your thoughts are on the current political climate, and especially its impacts on the music industry.

You’ve taken too long now! We’re all doomed (laughs) I mean obviously it’s really Yeah, but that’s what people forget is that it’s not just a

hard to make money anyway, in the music industry, and

hot girl who can sing, it’s a craft. And when you spent 10

then us heading into... well we’re already in this recession.

years doing something, then surely you are better by the

It’s gonna be even harder. I just feel like the opportunities

end of that 10 years. That’s why it’s nice that I’m even

are so crap for young people that aren’t from a musical

getting a chance to show that craft now.

background. Like, I’m from Portsmouth, I have no idea about the music industry or anything, so I had to learn the

You described your single ‘Funk This Up’ as almost a

hard way. It would be nice to see at this point, that there’s

conversation with yourself, reflecting on the conflicting

way more help, and there actually are some great things.

sides of addiction. Can you expand on that?

I recently did something with University Underground. They’re like a university for people that can’t afford uni,

So the EP is called ‘Limerence’, which means addiction.

which are so good. They do this music course and then I

Not even addiction, more like obsession or being

went in and did like a little workshop. And it was so nice,

completely obsessed by or infatuated with someone. I

because the music industry is so full of people that have

took that meaning to be a bit more broad, in terms of

got musical parents or are just really privileged. And it’s

the EP because, particularly ‘Funk This Up’ deals with

really nice to see that there are some communities that

more about knowing how you’re capable of sabotage and

actually help people that aren’t as privileged. I just hope

bringing chaos into your life, whether that means drugs,

that those don’t close down because of this recession. I

alcohol, sex, any of those aspects, anything that’s going

just really hope that. And I’ll do whatever I can to just

to basically make you feel like shit after doing it. Well, I

keep bringing awareness to it and telling everyone about

mean most of the time. And so knowing that that inside


of you that voice is always tempting you to do stuff.


J e s i c a iW n t e r

Many bands have seen their demise throughout the

Do you think every record needs personally important

process of following up a hugely successful debut album.

values or can you just make music for the sake of it?

Whilst I was chatting with The Murder Capital about their forthcoming record ‘Gigi’s Recovery’, it became

G: It’s ok for something to not have meaning, but it’s

clear that what they have created is an inoculation for

unlikely anyone would put something out which didn’t

creative stagnation which authentically achieves a way

mean anything for them on a personal level. Everyone’s

to transcend the dreaded sophomore slump. Evolution is

got a clear vision, just maybe not from the word go. My

not only at the thematic epicentre of ‘Gigi’s Recovery’

Mum’s an art therapist and once her clients began to

but of the band as individuals, who grapple, sometimes

create something, there was always meaning to be found

overbearingly so, with their identities and traumas in

behind what they were painting. One day she was painting

the pursuit of creating the most genuine piece of work

something of her own, so she started to paint a vase with

they possibly can. If you thought you knew The Murder

flowers inside it. The painting became quite dark, and her

Capital after album 1, you are only going to be surprised.

tutor said that what she’d created looked like a man with

Arriving over three years later, this second record, which

a top-hat on. She just burst out crying because she hadn’t

will be released towards the end of January 2023, is like

realised she was painting her dad who was dying at the

being reunited with an old friend who has been out into

time. In a roundabout way of answering your question,

the world, grown, and experienced life. I caught up with

I feel like even if you make a record without having a

Gabe (bass) and James (vocals) in an east-London pub to

premeditated vision of what it’s about, if you’re throwing

chat about personal growth, artistic expression, and the

paint at the wall so to speak, I do think there’s something

importance of authenticity in our starved, individualistic

within you pulling the ropes. One thing we love as a


band is trying to figure out exactly what it is that we are ‘painting’, because at first, it’s not always obvious.

Before this interview you guys were saying that speaking with journalists is a bit like having band

So, when you write as a band, meaning and value come

therapy. I guess you’re constantly having to think


about the record in different ways. G: For sure – sometimes we listen back to demos and Gabe: It’s helpful having someone come in and ask

then suddenly understand what it was that we were trying

questions from a different perspective. It makes you

to express. You need a bit of hindsight. Once we’ve

realise things which you might not have thought about

established some distance between the music, it’s then that

previously. Writing and recording a record is such a

we can genuinely come to understand exactly what it was

specific time in your life. Because the process isn’t that

that we were writing about.

far in the past, we hadn’t really had the chance to think about it that much yet. It’s helpful to remind yourself of

Perhaps once the problem has been resolved in your

what you were feeling when you were writing it and why

own mind, it’s only then that the curtains can be drawn

you were writing it. It keeps you on your toes to remember

and you can see clearly into yourself?

what it was that you put into the record. Finding out what the values of the record are makes it so much easier to

G: Definitely. I crave for a record to be quite clearly about

understand your own creation.

something specific. Even at the start of the writing process for this record, I remember saying to the boys, ‘what are we writing about?’

Words by Leo Lawton, illustration by Cameron JL West


I couldn’t understand that we were figuring it out as we

James: ‘to keep alive the secret to hold the past in place’

were going along. I was putting the horse before the

right? I remember every fucking line on this record! That

cart. This record was written in such a similar way to the

line is at the core of what this record is about really:

processes in art therapy in that we were just letting things

Accepting the need to surrender in order to inspire

come out without forcing them to.

fundamental change within yourself. That line also has something to do with the defence mechanisms which we

I feel like the difference between your first and

put up. Most of us have a multitude of traumas in our

second record is this shift between focussing on the

past and sometimes you can feel like you’ve dealt with

past previously compared with focussing on the

them. Personally, I have them all stacked in a shelf in my

future now. As well as that, there’s also a stylistic

mind, beautifully ribboned, but I don’t want to shake the

contrast. Following a mantra which you developed,

shelf. I try to convince myself that each of them have been

‘the evolution will not be compromised’, why was it

processed, yet I’m lying to myself in order to hold that

important to develop a new sound as much as new

piece of my past in place.

ideas? Do you think truth and integrity are hard to come by? Gabe: We took that mantra really seriously, even though

Why do you think we live in a world where we have

it started out as a bit of a joke. Both musically and

to protect our identity, a world which is starved of

personally, we never want to stop growing or improving.

authentic values?

It was hard to let go of the record, because it was such a source of growth for all of us. In terms of the sound of the

J: We live in a self-obsessed society. I think the nature of

record, we were just super open to exploring new textures.

our individualistic society breeds a bastardisation of what

We’re a band who write music which replicates how we’re

identity is and isn’t. When I focus in on thinking about the

feeling, and so our style had to match that.

lack of this or that, be it authenticity or integrity, I often think ‘well maybe things have never been different...’

When the record is finished then, is there an element of

The appearance of our society constantly changes, but

self-consciousness behind releasing it?

authenticity has always been hard to come by. There’s this constant grappling within oneself to figure out who

G: I’m just excited for everyone to hear it! I’m certain

you are, and most people don’t have time to think about

about this record. There’s nothing I would change about

that shit. They’re getting up and working their ass off.

it really. I just hope it can help other people heal and

That’s about it. The authenticity that our generation are

move forward in their own lives. This record is two years

searching for is a feeling of being settled in oneself, to

of work summed up in an hour, and we want people to

feel assured that you are trusting your instincts. A lot of us

feel and understand our journey too. A record can solve

make a career out of not listening to ourselves. That voice

something for you that has been left unresolved for years,

is always asking for a more challenging path, with always

I think.

greater outcomes.

James: We’re fucking excited to get back on the road

So, this new record is really about calling people’s

as well. We’re really seeing this as the next era of

identities into question, and hoping that listeners might

development with regards to our set. And that’s integral to

explore themselves slightly more than they would do

what The Murder Capital is.


I wanted to ask you about a particular lyric from this

J: I mean if that’s the outcome, that’s great. This is a

new record, James. I feel it really sums up this idea of

project of very personal self-expression, but we hope we

growth, identity and staying true to yourself; it’s about

have gone into those feelings in an extensive enough way

evolution. ‘We lie…’

that others can project their own lives onto it and maybe ask themselves some difficult questions.


T h e M u rd e r C a p i t a l

Maybe we say this in some way every other issue, but

We’re a three-piece alternative band. Sonically we like

Manchester feels exciting right now doesn’t it? Bypass

to coin the phrase ‘late night music’ - this is what we

its rich history and focus upon the here and now, it’s a

aim to produce. I think naturally this is a reflection of

city which will always be a staple in the touring circuit,

our different musical backgrounds but also the common

plays host to some of the most exciting alternative music

ground in terms of influence and taste.

festivals in the country, and regularly inspires young people to gang together and create their own piece of

Whether it be pursuing solo projects, running and hosting

history. The freshest name to be found on the city’s small

events or DJing. All three of us separately have been

venue posters is Nightbus. Confessing to make music for

active in the Manchester scene for near enough four years

the night time, the glimpse we’ve been given via some

now. Myself (Zac) and Olive, both North-east natives,

private demos assures us that they’re spot on. Goth tinged

met whilst studying. In final year I was managing Jake, a

shoegaze with pop sensibilities. It’s pretty exciting.

producer and DJ. The Stockport native who had recently moved back to his roots from London and was keen

Keen to know a little more, we sent the band a few

to network and create. Eventually this led to various

questions via email to dig a little deeper.

collaborations between the three of us, but only just in the summer gone we decided to put our brains together and

Hey Nightbus, how are you doing and what have you

start something fully fleshed - the end result is Nightbus -

been up to?

It’s a continuous melding of genres.

Since forming in mid summer this year we’ve been well

We’ve been fortunate enough to hear some demos, but

and truly caught up in the flow of city life. The spaces

for those that haven’t, could you tell us about the music

in between earning a living, studying and tending to our

you make and what influences you to create it?

social lives we’ve been jamming and writing as much as possible. You’ll either find us in a corner of a boozer

At its core, the music we make is our thoughts and

sometime after 11 or hiding away in our rehearsal space in

experiences. They are then brought to the forefront and

Brunswick Mill.

then combined with our musical influences including Postpunk, Goth, Alternative Electronic, Trip-hop and Shoe-

As you’ve mentioned, this is all pretty new. There’s no

gaze to name but a few. What you’re then left with is a

music out in the world yet and not even a YouTube clip.

snap-shot of a 20-something year old in the damp and vice

Could you tell us a bit about who you are and how you

soaked North of England. It would be fair to say we strive

came together?

to have an honest portrayal of reality for young-people. Telling stories of the ups and downs, the late nights and day to day life in these pre-apocalyptic times.

Words by Sam Ford, illustration by Naida Mazzenga


You’re from Manchester, and it feels like now is as

Nightbus is very much in its infancy, but I can only

good a time as any to be making music in that city.

assume your imagination is running wild with where

How did you find yourselves there and what’s special

you’d like to take it. What’s the dream?

about it just now? A big thing for us is to hit the road and eventually tour the There’s no point beating around the bush. Manchester is

US. The full thing. All of it.

a special place when it comes to music. Always has been and hopefully always will be.

To play Glastonbury is a dream of most if not all musicians and artists. But for us to get there and play a

What happened in decades gone by is still felt now and

handful of shows across the week would be out of this

very much part of the Mancunion culture. We certainly

world - things could and would get weird.

still feel an element of it in our music. To be totally honest we don’t wanna work in hospitality Me and Olive were drawn to Manchester from the some-

anymore, it fucking sucks. Imagine giving 40 hours a

what isolated North-east because of Manchester’s rich

week to Nightbus instead? The world would be a better

heritage and scenes but Jake is rooted here - the music of

place! As a band and musically we see this group as

the city and its surrounding areas have heavily inspired

a blank canvas, we’re constantly adding things and


sometimes taking things away.

What’s special about Manchester is that anyone can come

We’d like to think our best music is yet to come.

here and find like minded people, reinvent themselves, The radio silence usually means there are some big

chase something and carve out paths for themselves.

plans going on behind the scenes. What can we be excited for from Nightbus in the near future?

The ever expanding musical scene in Manchester is a constant source of inspiration and there is community which is always important! Venues like White Hotel and

Come to a gig and you’ll find out………

Band On The Wall provide safe spaces to have amazing experiences and nights out. Producers like Space Afrika

Last of all, you’re travelling hours down south for a

are pushing things forward in every sense of the word, and

show. What’s definitely on the playlist?

local bands like Maruja, are blending genres and putting on incredible live shows that leaves an inspirational

We’ve got a secret Spotify which we use for inspiration,

hunger in your stomach. There’s no place like this, well no

so that’ll defo get some attention. Other band favourites

place that we haven’t been to yet…..

include: Fontaines latest album. Without a doubt their best yet. We’re loving Jadu Heart’s latest single ‘I Shimmer’. We’d love to support them one day….hint hint. A bit of Gil Scott-Heron. That’ll be good for the quieter moments of the journey for sure. And of course to get us pumped we’ll channel our childhood heroes, The Cure and Gorillaz.



With a love of the sonic realms of bands like Slowdive,

K: We’ve had it for about two years now. Now that we’ve

Cocteau Twins and The Cranberries, and a name pulled

made loads of new stuff it feels so old to us.

straight from a Bauhaus single, the tasteful allusions of She’s In Parties twist into something both reminiscent

To begin at the beginning, how did She’s In Parties

and refreshing. Made up of Katie Dillon, Herbie

come together?

Wiseman, Matt Carman and Charlie Johnson, the fourpiece connected through college and mutual friends, and

K: I wanted a band! I was doing solo stuff and I knew

for three years have been developing their sound and

Herbie from school-

relentlessly churning out demos. It was in 2022 that these steady steps first broke into a run, with three singles and a

Herbie: I was in a prog-rock band which was quite fun,

lap of the live circuit pulling them into full view.

she came along and asked “do you want to play guitar in my band?”, I was like “fucking yes please. Now”. I ended

Their sound is full - crammed with layers of Dillon’s

up getting kicked out of that other band, I wouldn’t even

harmonies, crashing cymbals, and the ever present whir

say that was a blessing in disguise, it was just a blessing.

of reverbed riffs, but their tracks are softened by an

I was very happy to be a part of everything, I knew Katie

encompassing haze. It’s this reconciliation that gives their

had an amazing voice as well.

existing releases their naggingly wistful, coming-of-age sweetness that appeals to the familiarity of adolescence.

K: I remember sending pretty shitty demos to all of you. I

On the day the band release their single, ‘Cherish’,

studied music along with [Charlie] and a girl I skated with

they join me from their rehearsal room. I get a Zoom

knew Matt.

notification announcing that ‘swag has entered the waiting room’, a disarming entrance to say the least.

Matt: I hadn’t played drums in two years and I didn’t know if I’d have the time, but then a week passed and I

Huge congratulations on releasing your single

was just like fuck it.

‘Cherish’ today! How has it been? H: When [Matt] first came to the rehearsal, it was Katie: Well I was at work at 7am so I had to get up, but

awkward for about five minutes, but then we were all just

I was listening to it on the radio behind me while I was

making stupid jokes. We still have that dynamic as a band

serving people at the petrol station which was kind of

now, everything is pretty much a joke, we just enjoy each

funny. It’s good to get it out.

other’s company.

Charlie: Finally.

With the sound that you’ve settled on, was this the type of sound you all aimed for independently? Or were you

So the song has been around for a while then?

drawn to it when coming together as a group?

C: We recorded it in October last year.

K: It definitely started off differently. It changed as we got more comfortable around each other.


Words by Amber Lashley, illustration by REN

C: Katie has just got this insane soundscape in her head.

There are so many people online, it’s just thinking about

It’s really fun trying to write stuff that goes with it

how you capture them.

because it just sounds so fucking good. H: Not to quote Matty Healy directly, but there are four H: Katie’s demos had a base sound too, but we’re all very

websites that people use now and that’s it. Everyone has

good at putting ideas out. As members joined and left, the

congregated on these particular social platforms like

sound developed into a group thing rather than just one

Twitter and Instagram, so if you’re going to build a scene

person. Everyone has their own input.

of people, it’s likely to be through those platforms. There’s not really an individual way to do that anymore, there are

It’s a democracy! Katie, would you say writing is

people trying to find ways, but the internet is weird man.

something that came naturally to you? K: But then in some ways, you can connect with people K: Ah, I tell you what, not really, I don’t think I’m

more? Dirty Hit have their own scene of fans, and

amazing with words. That’s where first-hand experience

honestly, we’d love to be in that scene of bands. So there

is a lot easier to write about because I can just say what

are scenes online, and that seems to be where it’s heading

happened. ‘I Follow You’ was more experimental because


it was a story which was fun to write, but I was never naturally great with lyrics, it was more the melodies I

M: See but we performed in Leeds once and we turned up

loved. I preferred writing the melodies to songs and then

for our set at about 1pm, if you did an inner city festival or

just putting lyrics to them. I was using my voice more as

a local place there probably wouldn’t be that many people

an instrument rather than for storytelling.

there at that point, but in Leeds, it was rammed! I was like “what the hell are all these people doing out at 1pm?”.

H: Sort of similar to Cocteau Twins? Having it be very melodically inclined. The way Katie’s vocals are mixed in

That’s nice! I feel like a lot of ‘scenes’ now rotate

the tracks, they aren’t really in your face, melody is – for

around venues. You have those people that you know

us right now – more important.

you’ll see when you go somewhere but they’re not necessarily following a particular genre. It’s interesting to think how its changed.

K: With bands like Slowdive, because the music is so drenched you can never quite hear the lyrics, I always liked how they did that. It is important though, for

K: With venues too, they got annihilated during covid, so

‘Angelic’ especially, that was our first proper release and

having a lot of people come around is nice to see. There’s

that had a stronger message about men treating women

one in Maldon where me and Herbie live called The

badly. It was different to write a track like that, it gets

Gnome Cafe. It’s a tiny cafe and they have music on in

people thinking.

the evenings. There are so many people who go there and support all the artists and it’s great. It’s nice that you can

I feel like part of the allure of being in music, for a long

find those people who are just there for the music.

time, was this idea of a ‘scene’. It seems that dynamic might have changed, especially post-covid. Living in

Off the back of that, are there any artists around you

a time where everything is online, do you think this

now who you guys are excited about? Or feel connected

still applies? Would you say you’ve ever felt a part of a

to in some way?

scene? Or has that sentiment transferred to an online connection?

K: We’ve just come off a mini-tour with Bleach lab and they’re so sick! I definitely look up to them and their

K: It is definitely more online now. If you could get a


‘scene’ nowadays, then wow amazing!


S hs e ’ I n P a r t i e s

C: Been Stellar and CIEL are doing really well.

M: an EP?

K: Just Mustard, I remember when they just shot up,

K: Yeah that’s the next thing. Our next plan is an EP.

that ‘Deaf’ track is so good. There are so many awesome bands around, especially from Ireland actually! NewDad,

C: When it’ll be, nobody knows.

and Fontaines D.C. are obviously quite well established, there’s also someone called Monjola who’s from Dublin.

H: The music that’s coming out now is us obviously but we recorded it literally a year ago. We’re so different now,

M: We also found out that the Bleach Lab bassist can

there’s a lot of stuff that we love and we want to be able

drink a beer from his nose.

to get that out as soon as we can - before we get bored of it again.

C: On a completely unrelated note. A full pint? M: I saw him do it from his nose, but no, just sips. I saw you guys are playing The Great Escape… K: Yeah! We played The Alt Escape earlier this year and we said then that we’d love to play The Great Escape! Now we are, it’s really cool, in the space of only a few months too. We manifested it. H: I’m manifesting Reading. M: Last year I was going up to Cornwall around the same time as Boardmasters and I said to my girlfriend, “we’ll be playing it next year”, then it came along, and we were playing it. The same thing happened with The Great Escape, it’s kind of crazy! Just start saying random festival names. Speak it all into existence. So, what can we expect from She’s In Parties in the next few months? H: I think we’re going into a development stage. We’ve been doing this for so long now, but because of the two years where we couldn’t do anything, it can feel like we’re starting from scratch. Musically and with the way we play, there’s a lot of stuff that we want to get right. We’ll be writing music as well.

@ d rawren


HUMOUR pure misery EP

Out Now on


Washington D.C. ‘s Eva Moolchan (aka Sneaks) is a

When creating surrealist music through channelled themes

difficult act to pin down - A cosmic-connoisseur who’s

of self, the line between reality and a more warped, or

just released her latest record ‘The Eva EP’ via Merge

conceptual state of perception is a fine tool to have at

Records. The infamously spiky multi-disciplinary poet

your disposal. One which Sneaks has utilised in bucket

has spent the last six years on a consistently upwards

loads. As someone who is consciously aware of the wider

trajectory towards some level of boundary-defying, genre-

universe around her (Sneak’s Instagram posts and general

fused greatness.

musings are often guided by the astrological season we’re in), the creative input / output she purveys is rarely

And yet, we know nothing more of the EP. Or Moolchan

restricted to one source, or rather, a singular force.

herself. Where tracks such as ‘Grows’- a 48 second splurge Having spent the best part of this month trying to lock in

of warped filler, and ‘Dream’ (a nightmarish retreat

a quick chat- an attempt in which highlights ranged from:

into synth-driven mindfuck), lean further into Sneaks

“Zoom would be ideal if poss please! Just for natural flow

world of extravagant emptiness, the EP as a whole, is

of conversation”, to “No stress whatsoever if Zoom isn’t

intuitively cohesive; an ingeniously charismatic attempt

for you, but it would be amazing if we could capture as

at documenting consciousness through precise force and

much of your personality as possible!” We eventually

zero bullshit whatsoever. It may not be the most tuneful

settled with email (for the sake of everyone’s time, but not

record in your collection, nor an instantaneous hit, but as

out of inbox compassion).

demonstrated effortlessly throughout her career - a record a year and still counting, Sneaks isn’t here to win you over

No mean feat in an age of technological advance and

in a series of approachable choruses, or mind-numbing

digital collaboration, but with Sneaks the going was tough

predictability, and ‘The Eva EP’ is no exception to her

and the outcome? Well... there wasn’t one.


Pride aside, it wouldn’t be too unreasonable to suggest that Sneaks, for better or for mystique, thrives on building

Eva, if you do end up reading this... please know that

narratives with very little context to support her own, or

despite the fact you left me unread for six days, I have

her music’s, plight.

experienced worse. And whilst it is spectacularly in my nature to hold a grudge (I’m an Aries... I thought you

In its truest form, ‘The Eva EP’ is exactly what it says

might’ve appreciated that), ‘The Eva EP’ has stuck with

on its unambiguous tin. A five-track collection of

me. Your white-room, blank-space, style rhythms are

thoughts, repetition, and narrative blank spaces, the EP

infuriating, intoxicating, and unapologetically your own.

is Moolchan’s sixth studio release, and yet the artists

I love them, and I hate them at the same time. Together

first attempt at anything self-titled or overtly personal.

we’ve laughed, shed tears of minor-frustration, and danced

Effortlessly challenging its listener to explore the music

to the rhythms of ‘3 am in France’ and for that, I thank

outside of its box, and between its intimately sparse


lines, this ten-minute myriad of self-exploration is an understated statement of intent; a call to arms to break free from expectations, and in her own words (or rather... according to her press release- the closest I ever got to a tangible deep-dive), “ultimately creating a better future for myself.”

Words by Al Mills, illustration by Ana Galvañ


Invariably speaking, not many people are proud of their

Last time I saw you was supporting PVA on their recent

formative musical projects. From the awkward fumbling

tour, which was around a year on from having first

around genres to writing heavy-handed lyrics, there’s

seen you supporting caroline, and they were totally

often a lot of baggage that comes with forming a debut

different experiences. It’s been a fascinating journey to

project, whether with close friends or new acquaintances.

follow you on.

In the case of Quade, everything seems to have been rather more fortunate. While they flirt with many sounds at once

B: That’s reassuring to hear! It’s probably quite a good

and remain convinced that they’re still figuring things

thing to watch evolve because it is very new for us all.

out, their amalgamations of folk, slowcore and ambient

caroline must have been about our fifth gig.

electronics simply seem to work together to create the serene soundscapes they’ve been delivering since their

Leo: A year feels like a very long time for us, and it seems


to move quite rapidly. In the grand scheme of a band it isn’t that long.

Now with two singles under their belt, the ruminative ‘The Balance’ and the double-part epic ‘Spiral’, Quade are

T: I think for all of us, our own musicianship has been

finding ways to further expand their horizons into headier

developing in tandem with the band. None of us had been

territories, focusing their attention on putting together

in bands before so getting used to it has been in arm with

an EP and pondering where they stand on the fine line

making music for us. We’ve not got a whole lot of band

between playing on the band circuit and diving further


into the experimental scene. You’ve all known each other for a long time though How are things in the world of Quade?

what was the catalyst for the band beginning?

Barney: Things are good. We’ve played a lot of gigs

B: It should have been much earlier really. There were

recently which has been fun, and we’re just trying to write

a few times when we joked about starting a funk band,

material at the moment and revamp the set quite a lot.

but it never happened. The first seed was planted by Leo

That’s still getting fine-tuned but we have a good window

while I was living in French Guiana, but this was between

at the moment to keep exploring what we do.

lockdowns. I had to leave South America, but Tom was guarding a chateau in France, so I went there on an

Tom: We’ve got a lot of disparate influences so we’re

internal flight.

trying to dovetail a lot of those into tunes that don’t feel totally discontinuous from each other. We played recently

Matt: I was going to move to Paris with Tom, but we

and a friend was walking home afterwards and said he

moved in together that summer and they basically ordered

could hear it from 200 metres away and could tell it was

me to buy a synth. I used to DJ with Barney, but that was

us. It was reassuring because it meant there was some kind

the only way I could be in a band really because I can’t

of tangible sound.

play anything else.


Words by Reuben Cross, illustration by Laura Junger

T: We knew if he bought one it committed him to living

We played Wilderness this year which had UV lighting


and was the polar opposite of that. You want everything to complement and almost be secondary to the music itself.

How much like your current sound were the first ideas you shared?

M: I feel like directly after that set we decided that it has to be dark as fuck in the room and so we’ll go up to the

B: Nothing at all. The first two bands we shared was 23

technicians and ask for it to be as dark as possible. It was

Skidoo and A Certain Ratio, who we sound nothing like.

intentional but –

I guess when we were all committed to it, we still don’t sound like any of the things we listen to.

B: Pitch black, maybe not. I guess it lets the sound do the talking.

T: Conceptually our sound started with ‘The Balance’, which started with a synth sound that Matt found and that

For a band in your relative infancy, you’ve managed

kind of started the interest in curating our sounds and

to play around the country supporting varying acts –

letting them meld together.

what experiences have you enjoyed most about this and do you feel that the live sound complements a range

What were your DJ sets like?

of acts or are there certain things you’d prefer to play alongside?

M: This probably influenced us a little bit but we were really into early dubstep, things like Loefah and Mala.

T: That’s an odd one. Without sounding dismissive, I think

Eventually we went into garage, techno and trance.

at times I’m baffled we’re in the ‘band scene’ to be honest. I personally feel more comfortable outside that but we’ve

B: It was weird going to nights like that and experiencing

not really experienced that much. I don’t know where

what was already quite weird music in a detached

you’d put acts like Tara Clerkin Trio but I’d want to be

environment, but I think that’s what really set us going.

closer to that.

Do you think much of that has carried over into this

L: Experimental bands are a whole separate area, but if


we’re billed with a load of post-punk bands it’s not always the most conducive for a patient crowd. It does depend

B: I think some of the tracks we’ve made we’ve


approached in a similar way. Experiencing DJ sets has been quite impactful generally. Fairly early onto us living

M: It’s partially on us though, because if we’re playing

in Bristol we saw Vladimir Ivkovic and that was one of

well it can be nice to have a different crowd. People can

the most perfect distillations of what makes a good set.

be wrong-footed by it.

I don’t know if it was deliberate or not but I recently

L: It doesn’t suit a Friday night pissed-up slot.

discovered that my favourite setting to see you live in was in pitch black where I couldn’t tell if someone was

When you’re put on a vastly different bill do you feel

stood next to me or not.

that extra pressure to win over an audience?

T: I think that’s something we’re trying to think about

L: It can be quite enjoyable going through that and

more is how to curate a space.

assuming that an audience won’t get on board because it means you have to adjust a bit to try and accommodate for a different crowd. It’s quite nice to have to stay present doing that.



M: You’ve also got to have faith in the audience. It sounds wanky of us to say that we need the audience to be totally silent, because I don’t think our music is totally inaccessible. People can still get into it if we’re delivering it with conviction. I’ve noticed more samples coming through, is this a direction you’re looking to head further towards? M: It’s still early days but the one we’ve been playing a lot has a recording of Andrew Weatherall talking, but I’ve started doing more field recording. L: Matt’s just bought a tape recorder and I want to start triggering more samples and experiment more while writing and see where that leads us. B: There’s a couple in ‘Spiral’ which was kind of the start of it, I guess. L: There’s me chopping up wood that’s buried in the mix, and then there’s a radiator being bled joining bar one and two. There’s a little Easter egg for you. What do you envisage for the next year of Quade? B: It would be good to get some more music out there, whatever format that takes. M: We’re in the process of writing and have been for about six months trying to gather an EP. I don’t know how it’s going to turn out. To: I think generally though we’re still unfamiliar with where to go next, and it’s exciting for us to figure out. It’s definitely very different as first bands go, usually you’ll start off with something embarrassing first. B: Before we were Quade we were definitely embarrassing. The funk band that never was.

@ l aura.junger


Having spent the last few months weaving myth and

Do you think, in some way, being held back by the

rumour into legend, the abrasive garage rockers, Splint,

pandemic was good for you?

eagerly emerge from the darkness. Gaining a sense of notoriety in Manchester after some explosively passionate

Honestly, it is bizarre! At the time, it was obviously

live performances, splint forge a gentle intimacy through

horrible. The way the pandemic affected the world,

corrosive fracturing. The Nice Swan signees make their

especially the arts industry, which is still only just

mark on the rest of the world with two breathlessly

recovering. For us, it was a massive kick in the teeth. But,

striking singles, capturing an equal sense of angst and

you know what? I am so happy that we had that time to

assertion. Ahead of their debut London show at Dream

mature. We’ve come along so much, and it’s nice that we

Bags Jaguar Shoes, we caught up with Jake Bogacki

get to now present ourselves after figuring out who we

(Vocals/Guitar) to discuss how these past months have

are as a group. With the turbulence and the uncertainty of

been treating them.

the sound we were trying to create, we managed to box all that off privately. It was a mixed bag of feelings, but it

You have just released your second single, but splint

definitely helped us grow in the long run.

has actually been around for a couple of years, right? Can you tell me about where it all began?

For such a long time you managed to keep this anonymity about the band, straying away from social

So, I met George Davies (Guitar) whilst I was in Working

media and building hype from word of mouth and

Men’s Club. We were on our way to a Duds gig and ended

rumours, where did that idea come from and why did

up becoming good mates. In 2019, after leaving WMC, we

you want to do things that way?

spoke about starting a band, and that’s where it all started. We were a completely different band back then; even the

I remember when black midi was first doing their rounds

line-up was different. We were a week away from booking

and everybody was talking about this band from London

our first show but the pandemic hit, completely throwing

who were just like nothing else. You could try searching

the whole thing. The next two years were spent in our

for them, but nothing would come up. There was this myth

rehearsal space, writing and writing and writing. We’ve

about them that made me go see them at The Trades Club

evolved so much to where we are now. I mean, George and

in Hebden Bridge, and it was honestly like nothing else.

I have been doing this for nearly four years now!

But, in all honesty, I was fed up with social media and music.

And how does it feel to have these singles out after all this time? It’s quite surreal!

Words by Will Macnab, illustration by Nick Ö h lo


There’s who you are as individuals in the real world, and

I think there’s a sense that in the modern world there

then there’s this altered perception of what the artist is. I

are plentiful amounts of anxiety within day-to-day lives.

got so frustrated with this constant need to be present. You

Everyone’s got their own thing going on. There’s a lot of

do have to play to the strengths of social media because it

comfort in expressing that sort of feeling musically, which

is such a great tool. But it was definitely fun at first!

is quite sweet. We’ve created a comfortable environment to make anxious music.

Going back to your singles, something that really stands out to me is the songwriting. There are so many

And working in music can be an incredibly stressful

little things you have in both tracks that just make me

environment. How do you look after yourselves and

smile and laugh at how good they are, so what does the

each other?

creation of a splint song look like? It’s difficult, really. I’ve known people in the band for We set out with this ideology behind how we wanted

quite a few years now, and I think some of us have gained

to create the music, which was to go with minimal

a snapshot of how working in music can be. You can be

production and create sounds only using what we had

on the way up, doing well, and then suddenly everything

access to. We were really just trying to play with our

that you’ve been working for can just disappear. And that

influences, from The Velvet Underground to Sonic

is brutal. It’s all about having a good core friendship and a

Youth, and wanted to see what we could get out of our

good understanding of the people you’re with. You’ve all

instruments. With ‘145’ for example, George had that main

got to be honest and straightforward with everything that

riff in another tune and it was such a standout riff to us

you’re doing within the group; otherwise, it will lead to

that we all decided that it needed to be its own thing. So,

fractures and cracks. No voice is louder or more important

we worked from there. Then everybody else comes along

than anyone else’s. The best way you can do that is by

and we jam out all our own parts till we find what’s right.

being honest and supportive.

We also just love to have fun with it! At one point, ‘145’ did start out with double drums, but the practicality of that

What is the music around you in Manchester like — is

slowly fades away. But it’s fantastic! Everyone is always

it very much trying to relive the days of Madchester, or

so involved, bringing their own taste and individuality to

does it feel like something entirely new?

it. We all bring something that another couldn’t and that’s the ethos of the writing that we enjoy. No one is more

The Manchester music scene is a brilliant subculture of its

important than the other. It’s a unanimous experience.

own. There’s a really good community of bands and great venues to play. I mean, the Fuel Cafe in Withington is a

Could you tell me a little about the narrative of ‘145’

fantastic spot, as is the Peer Hat at the top of town. You’ve

and its exploration of vulnerability?

got bands like ERMINE FUDGE, Tigers & Flies, Threads, etc. There are no Madchester elements at all; there are a

So, sadly, Giulia can’t join us, but this is a quote from her:

lot of really talented musicians who haven’t necessarily had the opportunity to show themselves yet. There’s

“It’s about the human condition that unites every person

quite a gritty darkness to Manchester music, as there is

but also divides us. Going through life without paying

in the city. It’s definitely got over the days of ecstasy and

attention to what is actually happening to the people

tambourines. A lot of good shit going on.

around us and settle for the “I’m fine” in reply to the ‘how are you’s?’ Pretending to be strong when everything is falling apart and never allowing yourself to be vulnerable.”



What’s been the highlight of this journey so far?

They’re a great bunch and they really supported us in the early stages.

It’s got to be when we played Sounds From The Other City With two singles now out, what’s next for splint?

in this beautiful old church in Salford. They put gigs on in there sometimes, and it’s this giant cathedral room with these giant statues behind you and dark red lighting. The

Well, at the moment we are getting ourselves geared up to

sound was just religiously loud, you know what I mean? It

do a lot more recording of new material. We will possibly

filled the space entirely. That’s actually when Nice Swan

put out another single; there could potentially be an EP;

approached us! Having been doing this for so long, it was

maybe a mini tour; and we will definitely be looking

such a nice reassurance that everything we’ve put into it

at festivals. But we will have to see what the new year

has been worth it. Honestly, it was such a day.

brings. Right now, we’re all getting our heads together to make sure we get the most out of 2023. Music can be such

What artists out there at the moment would you love to

a fast world sometimes, so it’s also nice to be able to sit

play a show with?

back and go, ‘oh shit, we’re doing alright.’

Wow, that’s a good question. To be honest, anyone! We’re itching to play more gigs. We’re looking forward to playing with English Teacher again, though.

@ n ick_ o hlo


It’s been a year of firsts for London’s infamous post-

I think he very much keeps himself to himself. We saw

punks. DEADLETTER have spent the best part of 2022

him briefly on the first day of the tour, but he was ushered

solidifying their place as an alternative household name. If

out of the car and into the venue. The people we have

you’re late to the party, then it’s time to crawl out of your

met seem really nice and it’s of a scale that we’re really

cave and jump on the hedonistic band wagon sharpish.

not used to. I think the biggest crowd we’ve played to is

We caught up with formidable frontman, Zac Lawrence to

15,000, whereas our debut UK headline tour culminated to

discuss touring with Placebo, ballroom dancing and the

a room of 400.

future of artificial intelligence. We only found out about the Placebo tour a week before Where am I catching you today – do I detect you’re on

we actually went on it. It was good, because we didn’t

the road?

have much time to think about the magnitude of what we were about to do. Looking at a space like that from the

Yeah, we’re currently on a European tour! I’m just in the

stage is pretty overwhelming.

car park of a hotel in France sat in the van. I can only imagine the feeling! So, the big one at the So, you’ve had a UK tour followed by a European tour.

O2 Academy Brixton is coming up! Will this be one of

How’s the TLC holding up?

those life affirming moments for you all?

I’m doing alright actually. The great thing about the shows

I think it will be. It’s one thing travelling through Europe

that we’re playing, is that the tour managers have booked

and playing bigger stages, but this is a venue that we’ve

them deliberately with big gaps. Whilst a lot of the days

all been to countless times as punters. I remember I was

we’re travelling, we managed to get three days in Prague

16 when I first went there to see The Libertines - for my

which was lucky! It’s stunning and you can see the history

sins - and I remember looking around thinking that it’s a

in the place. If you take the branding and the glass fronts

stunning room. Also, Brixton is a place where we spent a

off things, it’s probably not dissimilar to how it would’ve

long time forming ourselves as a band in our earlier years

looked in the 1500’s.

at The Windmill. Even now, it’s like a second home to us.

As a Brit abroad, I feel you only visit Prague if you’re

Would you say it’s like graduation, with The Windmill

on a band tour or a stag do, so I’ll ideally get working

being at one end of the street and then working your

on the former. You’re currently on tour with Placebo!?

way up to the big bad O2 at the other?

Any antics you’re able to share with the group? Yeah exactly! There’s something quite special about the They started as a quartet and now there’s only two of the

idea of it being just down the road from a venue where we

original members left in - Brian Molko and Stefan Olsdal.

found ourselves as musicians and creatives.

They sort of take the front of stage and then they have session musicians who make up the band further back.

Speaking of the smaller stages, I have a vivid memory

We’ve met all of them except Brian…

of you instructing the crowd to waltz round the room with the person next to them at The Victoria years

…is he quite elusive?



Words by Laura Pegler, illustration by Kissi Ussuki

Is the ballroom dance a feature that you’d consider

Correct! In terms of materialism, I think it’s quite a


sinister insight into the basslines of human nature. We’ve got TikTok popping up everywhere, which provides

Haha, I’m not sure that any waltzes are on the cards right

instant gratification and has a strong influence on others.

now, but we don’t like to pigeonhole ourselves so maybe

We’re becoming more and more shallow. I don’t think that

one day. Don’t get your hopes up for the near future

people are thinking about what they’re doing any more


and are willing to submit, splashing out on something because someone else is wearing it, as opposed to liking it

You recently played the infamous ‘Left of the Dial’


festival in Rotterdam, which seems crammed with the entirety of the UK’s post-punk circuit. Can you tell us

Don’t get me started on Instagram cookies…

what the heck goes on there? It’s ironic that when the internet first came about, it was It was a bit of a whistle-stop tour. As soon as we got there,

supposed to be progressive and improve humanity. In all

we had two shows the next day. It’s a great little festival

honesty, I think we’re actually regressing as a result.

and Rotterdam in itself is a really interesting place. We got to see a few bands – Divorce were brilliant! They’ve got

You’re right, it’s getting out of hand. Speaking of, I fear

a church full of merch, unsurprisingly called ‘The Merch

the robots are coming – the ABBA Voyage holograms were

Church’. I’d definitely recommend going for longer.

disturbingly lifelike. I give it 50 years before that piece of

I heard there were parties on boats where you could

technology poses humanity’s next threat.

see bands in close quarters on the deck which sounds interesting.

I just hope that if hologram technology is the way it’s going, they’ll do a ‘The Fall’ version. I’m not sure

I must also say congrats on releasing your debut EP

it’d be a good cash cow mind you. Perhaps AI will be

‘Heat!’. Delving into gluttony and materialism, it feels

the creatives of the world, and no one will have to do

like the EP is trying to tell us something about human

anything. The best creatives will be coded.

nature? Now there’s a frightening thought. Before we fall It’s fairly pessimistic in tone, but it was subconsciously

further down that rabbit hole, 2022 could be seen as

like that. These particular tracks work together pretty

your year of bucket list achievements. What’s left in

well, as they all investigate the darker side of humanity.

the pot?

I suppose it’s coherent in that it’s a body of work that touches on ideas which are maybe misanthropic. This was

Glastonbury would be nice! It’s the most coveted stage in

definitely unintentional, because I don’t think hatred is at

the world so it would be an honour.

the forefront of my imagination. I tend to look around me and draw upon what’s going on. I don’t think I actually

I reckon that’s a very achievable goal.

have the answers to things. I just like to ask a lot of questions and I think lyrics are a great place in which you

Hopefully. If you set the bar to a relatively achievable

can investigate and study. I would also say I’m not free

level, then you evade disappointment.

of blame from the issues that I speak about. Everyone is Wise words. Finally, it’s your turn – please ask a

guilty, so it’s important to discuss and explore.

burning question to the Magic 8 Ball… As an extension of that idea, do I detect a nod to Madonna in the debut? Are we all just ‘Material Girl’s

Z: Will the state of British politics ever improve?

at heart? Magic 8 Ball: It is decidedly so.



From papier mache helmets to tall tales of ‘The Pilgrim’

Tom: I don’t really know what people mean with the ‘folk

and their magical journeys through forests and storms.

genre’ tagline, because it’s so different these days to how

From infectious, honey-dripping melodies - folk, but

it was in the 50s, to how it was in the 19th century…

not quite - to the joy of art for art’s own sake. Tapir!’s immersive, gentle, and narrative-driven spectacles offer

Is it a taste all of you bring to the band?

cuddles of kindness for an ever-more discomforting world. With grand designs of a three act song-cycle already

Wilf: I think pretty much everyone.

in motion, and future schemes for paintings and films whirring in their brains, we can only giddily stand by as

Emily: It’s nice for people to identify it as folk but be able

their collaborative multimedia visions continue to blossom

to add other elements. So the trumpet’s not necessarily

and grow.

folk. We add drum machines…

As the band took a well-earned break from their lofty

I: We never set out to make folk music.

adventures, I was lucky enough to hold their court in a Stockwell taproom and learn a little more about this

Ronnie: Especially since a lot of the bands Ike and Will

mesmeric world.

were inspired by, they’re not folk artists? Like Randy Newman and stuff, that’s definitely not folk. It just came

Tapir!’s music is most easily identifiable as ‘Folk

out that way.

music’. There’s a lot of love songs. It’s very gentle and heart-warming. Do you consider yourselves a folk

T: We did mostly use acoustic guitars though, for the first

band? Where does the desire to write these kinds of

few gigs.

songs come from? I: It does feel very folklore’y, the world. It feels like Ike: A lot of us really like folk music. When me and

old tales. The fact that it’s a journey, a pilgrimage. It’s

Will started writing songs, we wanted to make narrative

about discovering the history of the land, so it does feel

driven songs - Randy Newman, Harry Nilsson stuff. Then


more contemporary bands: Spellling has been quite a big influence.

What did you set out to do?

Will: Maybe the narrative style drives the genre? With

R: To tell the story and make a world. It’s not just an

folk music you can write stuff like that, tell a story.

album. It’s an art project…

I: It definitely helps writing the songs, especially lyrically, if you have a narrative in your head. Or at least if you establish a setting, or motives.

o Wr d s b y E l v i s T h i r l w e l , i l u s t r a t i o n b y C a r m e n C a s a d o


So, what is the story of The Pilgrim?

I: It came over time. The band started just before lockdown. We have a couple of songs that we do now.

I: The story opens up to the Pilgrim, a red creature, stood

Around that time I started painting as well. It made sense

on top of a hill, looking out on a vast valley. There’s a

to put the two together. I think we always wanted it to be

call from a distance for the Pilgrim to travel through the

multimedia, especially because there’s so many of us who

land and get to the top of the hill which is the tallest point

are creative, and make stuff. Why not include that into it?

in the land. They go down into The Nether - a wooded area - where there’s a big creature that the Pilgrim fights.

E: It’s something that everyone wants to do. It’s not

In Act 2, they set out on a boat, but there’s a storm. Along

necessarily that Ike does the painting, and we play. It’s

the way, The Pilgrim discovers more things about the past

[me] doing the T-shirt design too. It’s important for people

of the land. I think the narrative isn’t that complicated.

to see it [live], of course. But to be able to take a piece of

It’s quite straightforward. It’s nice having these things in

it, take something away physically? It adds a lot.

place, being able to enrich them with more content. I: I feel like we’ve only just touched on a lot of these R: Each song is a scene in this thing. Some songs were

things. I’m looking to flesh it out a bit more.

written for that, some were adapted to it as well. It’s very loose. It’s not like, “this happens and it’s really strict.” It’s

What other ideas do you guys have?

a Vibe Journey. Wilf: Make a movie. A short film, ideally, to accompany I: The narrative is supposed to be as non-objective as

the whole album.

possible, so whoever listens to it hopefully can interpret it in their own way

I: Slowly piecing together short films for each track, so hopefully when it’s all out, we’ll have the whole thing.

What do you think the song-writing medium brings to storytelling? How effective do you think pop music is at

R: It’s a sort of Frankenstein’s monster.

telling stories? But instead of a monster it’s a red shape with legs! I: That’s the thing. When you’re writing a song, it can be quite narcissistic in a way. Not narcissistic, but, y’know,

R: That’s a big part of it. The fact that we work with

it’s about expressing yourself. You’re telling your own

different producers and artists, it’s getting loads of people

story. A lot of the time, pop songs might come from a

involved to help us out. It doesn’t just have to be us.

singular person, but it’s [done] in a way that’s so vague

There’s this thing outside of it which can be made with

that people can relate to it. Having a narrative on top of it

loads of people collaborating.

means you can detach, that it doesn’t have to feel like such a personal thing you’re doing.

I: We don’t just want to make a painting so we have an album cover. We don’t want to make a film so we have a

From releasing your first single and playing your first

music video. That’s great, but we want to work on projects

shows, it seems like there’s a lot of multimedia aspects

for the sake of having projects. I feel like sometimes

to creating this world. Not only do you have sketches

there’s a pressure for things to be made for a reason. Why

and paintings, you have these guys [gestures to papier

not do more?

mache red helmets on the adjacent table]. Was this idea of multimedia world-building something that was in

Readers of So Young will hear about the Windmill in

the project from the beginning?

almost every issue. But when I think of Tapir!, I think about The George Tavern and the community of bands that gather there.


a Tp i r !

The venue seems to be gaining an identity that could become as strong as somewhere like the Windmill. What does The George Tavern mean to you? W: You can do anything you want at The George. Fran is so willing to do anything and go out of his way to make it happen. T: I think the stage there’s kind of special as well. There’s a bit more space, it’s kind of theatrical, semi in-the-round. It doesn’t feel like a gig venue, like a dark, windowless room. R: It’s not, like, ‘cool’, which I think is really cool. Wilf: It’s so easy to be intimidated by the music scene in London. Especially having not grown up in London. The Windmill’s great, but I’m a bit scared! You go to the George and you do Karaoke, and take the piss out of yourself. You feel so comfortable. R: That’s not to say we’re not a Windmill band as well. We have played there, and it’s great, but we definitely feel most at home at the George, W: Our first gig was at the George. Our single launch was at the George. Our EP Launch was at the George… R: Our most recent gig was at the George… I: I remember when we did our first show that wasn’t at the George, it was nerve wracking! Finally, what are your feelings about Tapirs? I’ve got some facts here. W: Ronnie’s got a good one. Don’t know if you can print it though. R: The biggest body to penis size ratio of any mammal. Anything else anyone else wants to say? Everyone: Ummm…errr…..hmmmmm

@ h olasoykaaa


Cover Photos Tatjana Rüegsegger

Editors Sam Ford

Josh Whettingsteel

Writers Sam Ford

Charlie Brown Al Mills

Eve Boothroyd Leo Lawton

Amber Lashley Reuben Cross Will Macnab Laura Pegler

Elvis Thirlwell

Printed By Ex Why Zed




@soyoungmagazine (Twitter)

SoYoungMagazine (Facebook) soyoungmagazine (Instagram)


Josh Whettingsteel Harry Wyld

Pamela Guest

Kalisha Quinlan

Tuomas Kärkkäinen Cameron JL West Naida Mazzenga REN

Ana Galvañ

Laura Junger Nick Ohlo

Kissi Ussuki

Trackie McLeod Carmen Casado

Photos for Collage Tatjana Rüegsegger Marcus Prouse Jr Joe Mulville

Sonny Hammersley Manolo Campion

Craig R McIntosh Kalisha Quinlan

Special Thanks Al Mills

Jamie Ford

Cameron JL West Jack Reynolds

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