Issue Thirty-Seven
Also inside: Crows Ethan P. Flynn The Dinner Party Folly Group Gently Tender Minor Conflict Automatic Tenderhost headboy Humour
jamdongart.com
As we’re teased with a little more sunshine, we release our
We video call Sam to discuss their return, honing your
thirty-seventh issue. Porridge Radio are on the cover and
talents and weaning off the dark emotions.
we catch up with lead singer, Dana Margolin to talk about the new album, ‘Waterslide, Diving Board, Ladder To The
The Dinner Party are turning heads. The five piece can
Sky’. Digging into a gluten free Crumpet, Dana opened
currently only be found on small venue stages and the
up on her illustration which accompanies the record,
odd live video on YouTube. Delving into their world of
vulnerability, and dreams of pastries.
gothic infused alternative-pop songs, The Dinner Party told us of their admiration for Bowie and Queen, and how
London’s Folly Group have recently signed to Ninja
they want to be the band their teenage selves would’ve
Tune’s Technicolour imprint, becoming the first band on
loved. Since we last spoke, Ethan P. Flynn has released his
the label. The four piece have followed up 2021’s ‘Awake
debut collection of songs ‘B Sides and Rarities: Volume
and Hungry’ with second EP, ‘Human and Kind’. Via
1’ and followed it up with debut EP ‘Universal Deluge’.
Zoom, we chat about their transition from a lockdown
As an artist, Ethan P. Flynn doesn’t like to look back,
band, amping up the electronic elements and tour survival.
but we managed to get him to reflect on the songs, the
Staying in London, Crows are the debut signing to the
achievements to date (Ref: Writing with David Byrne
Bad Vibrations label. As they prepare to unleash album
and FKA Twigs), and how it would feel to be someone’s
two, we dig into their ambition to make a few quid and
favourite.
how they’re embracing being dumped under the post-punk umbrella.
In our twelfth Artist Series edition we’ve collaborated with realist painter Simon Monk. In our interview we talk
LA’s Automatic released their debut album in 2019 and
about balancing his two key influences of pop culture
then saw all tour plans to spread the word cut short by
and classical painting, providing the artwork for Black
the pandemic. Ready to recreate the buzz and unleash a
Country, New Road’s ‘Ants From Up There’ album and
barrage of new music via second LP ‘Excess’, the band
getting back to the subject matter that helped him achieve
fill us in on embracing punk as an attitude and how the
his initial success.
only way out of capitalism is to build communities outside of it. Heading back to the UK, via Matthew E. White’s
Finishing the issue are a bunch of brand new artists who
Spacebomb studio, Gently Tender are back. With the
we think are well worth your time. Dig in to find catch ups
release of ‘Dead is Dead’, Sam Fryer and co have made
with Glasgow’s Humour, Bristol’s Minor Conflict, plus
their statement of intent.
London bands, headboy and Tenderhost.
4 Gently Tender Dead is Dead 8 Ethan P. Flynn Universal Deluge 12 Automatic Excess 15 The Dinner Party Burn Alive 19 Humour Watch this space 21 headboy Televised 26 Minor Conflict Office Block
31 Porridge Radio Waterslide, Diving Board, Ladder To The Sky 38 Simon Monk Artist Series #12 43 Folly Group Human and Kind 47 Tenderhost The Descent 52 Crows Garden of England 55 The Great Escape 11-14 May 2022
Music is communicative- it’s vulnerable, explorative
That’s the human element of my music too, it’s just how I
and experiential. There’s a real authenticity in that,
operate- even as a guitar player. I’m very imperfect. I get
and I think you’ve got it nailed. Especially in ‘Dead
so wrapped up in the emotions of songs that I forget to
is Dead’. I fucking love that song; and I’m so happy
stay in time. I don’t want to over-complicate things. I just
you mentioned religious experiences too as that track
want to convey a story, how I’m feeling, through music
couldn’t get any-more soulful. It’s gospel!
and that’s where timelessness comes into play. I won’t try to deviate from the basic rock n roll structures.
‘Dead is Dead’ was one of those songs that just happened instantly. Some songs can take an age to write, but this
Where would you place Gently Tender within those
one took place within 15 minutes; between me and our
basic structures?
bassist Pete in the studio. We’re very much in the world of trying to heal through It took a lot of people to say they liked it, before I truly
music- hopefully there are people who feel moved through
did. But that’s also to do with the sound- I gravitate
our music. It’s been such a long time.
towards warmer songs and this one’s a bit more aggressive. I’m excited to perform it, because of its power.
I think in the past, I’ve been guilty of trying to force songs
I’m using every single ounce of my lung capacity, and I
that people in society would like. Whereas these days, it’s
haven’t ever done that in a song before. It’s such a release.
more about letting things come out naturally. I go to the
A release and a relief.
studio every-day and I just sit, pick up an instrument, and just mess around.
Matthew E. White produced the track. We went out to work with him in Virginia, and he introduced us to two
I have a lot of pent-up energy so I go for very long walks-
gospel choirs. They came into our studio during a session
ten / fifteen-mile walks – in the countryside and all I do
and it was completely surreal. They were, without doubt,
is think about traditional Folk music. It’s the area I like
the best musicians I have ever met in my entire life. It was
to live in, most of my days. Thank god for people like
like being in heaven. It almost felt too early in our music
Broadside Hacks; they’ve allowed us to live in this dream
career to be doing it.
world, where things were purer.
Narratively it’s stunning too- and I mean that in the
Aren’t you named after an Incredible String Band
literal, and lyrical sense. It’s a brilliant re-introduction
song?
to you guys. Yeah! I always think of them as ‘Soul’- although soul can Yeah and I think lyrically, it’s fitting as we’ve been gone
take different meanings. For me, it’s a spiritual thing, and
for so long. I reckon most people thought we’d split up to
that band epitomises that song. The way they’re able to
be honest. But really, we’d just realised there’s no point
talk about the Earth, and the Universe in their music, it
being socially active, unless we have something to give
just takes my breath away. I don’t know many songs that
you know? Something to offer.
are as moving. It fills my world with joy.
We laid low for a long time so the lyrics: “what’s dead
“Gently tender falls the rain. Washing clean the slate
is dead, what’s gone is gone. I don’t feel that all the
again.”
time”, it’s like a re-birth; and a good one to kickstart the next chapter. It is a song about death- and we’ve all
From a past life that I once had in music, thinking about
wrestled with releasing a song about death during such a
that line was completely perfect at the birth of Gently
challenging time globally. But actually, I can’t really write
Tender. I wiped the slate clean again from the past, and all
negative songs anymore, and it’s really a positive mantra
the baggage that was inside it.
for believing in life after death.
5
Gently Tender
It’s funny because I think we’re all massive fans of Pozi
Natalie: I think I’ve always written lyrics that are quite
and there’s definitely similarities.
emotionally charged, which might not come across in the tracks we do, but I always write things if I’ve had a
Robbie: We came in all bright-eyed. It’s almost like him
strong reaction to it. Doing it in a band as opposed to a
and his studio are a married couple, and he’ll complain
solo project has also been way nicer. When I was writing
that it’s too small or something, and walk around
for myself, it felt quite inward and isolated, but with this
muttering to himself and looping cables. It’s also like
you’re sharing it and it turns into something greater than
watching someone play an instrument seeing him in there.
you.
Natalie: He kept apologising, but we thought it was
Robbie: I think there’s an inherent politics to it, and that
amazing.
sometimes comes out within the lyrical content. We do often have long conversations about political philosophies,
How did you come to the idea of marrying your choice
but it also relates to how we structure the band and our
of instruments together to forge this sound – it isn’t
relationship together, and working in an anarchist space
necessarily conventional but works incredibly well for
like The Cube.
you. When did you come to realise it was right for you? Would you say that has summed up your ethos as a band from the beginning?
Natalie: So we’ve known each other since school, and after uni we all found ourselves back in Bristol and thought we’d just make music together. It really has
Natalie: We’ve always been very conscious about
evolved from the days of playing in the shed – I didn’t
using music as a form of communication and building
even think the harp would fit in.
communities, and I just think it’s such a powerful medium for getting things across and to connect. It’s interesting
Robbie: Initially Natalie asked if she could come and jam
seeing how that’s shifted now we’ve got out into the world
with us as Josh and I had been doing a few things together,
and had the organisational side to deal with, but I think we
and we both thought “isn’t Natalie a bit too good?”
chat about it a lot.
Natalie: I think we’re all into music that doesn’t really use
Where do you want to see things go with the group over
a conventional setup of guitars, drums, bass etc. I think
the next year?
there’s a place for that, but I’ve always loved unusual combinations.
Robbie: I think just trying to have fun with it. The decisions we make as a band lean towards just enjoying
In terms of the lyrical content, do you share the duties
it, and sometimes you can take things too seriously and
and where do your primary sources of inspiration come
it sucks the life out of it. Having goals and being driven
from?
towards them is fun, but also being led by what the core of the band is, which is a beautiful friendship, and trying to
Josh: Before I was writing lyrics I was writing poetry,
keep that at the heart of what we do is important.
and I’d been doing that for quite a few years, so it was quite an interesting shift to writing lyrics. With ‘Office Block’, it was influenced a lot by debates about work/life balance, and paints a picture about our attitudes towards production.
27
Minor Conflict
Stephen: I think a big part of it is that Phil listened to ‘The
It’s all caught under this ‘post-punk’ umbrella. And that’s
Lore of God’ for once. He didn’t fuck around using loads
fine, if it works, and gets us gigs and stuff that’s great.
of different amps, and just let me use the amps I wanted to use. On the previous record, we had this thing that gets
Stephen: As long as it makes me money I don’t care.
abbreviated to ‘L.O.G’, or Lore of God, which is that, if it doesn’t sound like my normal live sound, then I don’t
Sam: We were literally talking to our booking agent about
really want it on there. I think that this time, they listened
this the other day: we will literally do anything. I’m 30,
a little more to that side of things.
and I’m the youngest one. We don’t give a fuck. You can put that in the interview as well. We just wanna make
I want to ask a controversial question now. I want to
some money!
talk about the term ‘Post-punk’. Everything that’s written about you says, ‘Post-punk band Crows’. I
Moving on… Crows’ music seems borne of tension and
personally feel that the term doesn’t really provide an
distress. The songs may arise from private struggle,
accurate reflection of your sound. I was wondering,
the struggles of others; from some grievance towards
how do you feel about the tag? Do you see yourself as
the political climate. Personally, I often use music as a
‘post-punk’? Or do you just not give a shit?
means to escape from the horrors of life, but for Crows, it seems like an opportunity to embrace them head-
Sam: [laughter] We were talking about this yesterday
on. What do you think is achieved from this form of
actually. James was saying, and I agree, that everything
expression, for you as people?
gets called post-punk now if it’s either a bit quick, or a bit raucous.
James: It’s whatever inspires you to make what you’re making. For me, that changes quite often. The first album
Stephen: My point was that anything that’s got any
was quite convoluted. I would just read lots of shit that
element of something that could be related back to
I was into at the time, whatever took my fancy; I would
something ‘punky’ gets called post-punk. Rather than
research it, go down a rabbit hole and write about it. When
being labelled as a ‘punk’ band, because it doesn’t sound
we wrote this one, it was Summer 2019, all that was in the
like the Sex Pistols. I’m very much firmly in the latter
news was Brexit, and how shit the world was, which has
‘do-not-give-a-shit’ category. People can call it what they
just continued like that. With Crows, it’s always a release,
want, I do not care!
that release of tension from normal life. We all have day jobs, you know?. It’s a really difficult question to answer,
Sam: Until you’re selling loads of tickets and stuff, who
because there isn’t a straightforward answer to it.
cares what the label is ‘cause no one’s gonna give a fuck anyway.
Sam: Stuff pisses us off, and sometimes it gets into songs, and sometimes James is reading about weird occult shit
Stephen: We were saying this previously. We’ve never set
that sometimes makes it into songs. And sometimes we
out to be any kind of specific genre. We all have a lot of
have fun in the background. I still love doing it, as a
different influences; everyone’s listening to a variety of
creative process, as a release. I mean, fuck, we’re all quite
different stuff. It’s just an amalgamation of all that. We’ve
quiet, meek people. So when you can get on stage and be
never set out to be this kind of band or that kind of band.
loud and, in James’ case, quite scary, I think that’s really
I agree with you, I would never consider ourselves a ‘post-
fun, and I love doing that. So many people say to me, “
punk’ band.
I didn’t really think you’d be able to do that”, because I don’t look like I could be a drummer in a loud, aggressive
Sam: We’re happy to be lumped in with all those other
band.
bands, because there is quite a cool group that we sometimes get put with.
53
Crows
Brighton! We’ve had two years without The Great Escape.
As always, The Great Escape spans far and wide when it
Madness. The return of festivals and more-over, the
comes to genre, but it’s within the alternative realms that
confidence that they’ll actually happen, is something of
we get excited. Top picks from this year’s line up include
pure joy. Following an online edition in 2021, The Great
the likes of Yard Act, Medicine Cabinet, VLURE, Katy J
Escape returns to the South-Coast in May with a lineup
Pearson, HighSchool, Goat Girl, Stella Donnelly, Lynks,
full of exciting new bands and returning success stories.
Been Stellar, Lime Garden, Enola Gay and many more.
Taking over the city, and working alongside 35 of its live
We are excited to continue our fruitful relationship with
venues, The Great Escape welcomes you all to lap up 4
the festival. You’ll find our stage, in partnership with the
days of new talent.
festival, on the beach this year and we can’t wait to see you there. Line up to be announced very soon. See you at the seaside.
55
THE SPOTLIGHT SHOW FRIDAY 13TH MAY 2022 BRIGHTON DOME CONCERT HALL TGE + THE FACE PRESENT
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Artists Editors Sam Ford
Josh Whettingsteel
Writers Sam Ford Al Mills
Poppy Richler Jessie Smith Ali Grice
Reuben Cross
Dana Margolin
Josh Whettingsteel Jam Dong
Dylan Hall
Anna Maria/The Fools Who Dream Spencer Ashley Lucas Burtin
Linda Schwalbe Simon Monk REN
Meu Teng
Josh Whettingsteel
Front Cover
Laura Pegler
Dana Margolin
Dirk Baart
Elvis Thirlwell
Printed By Ex Why Zed
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Matilda Hill-Jenkins Josh Whettingsteel
Photos for Collage Alex Waespi Jody Evans
Matilda Hill-Jenkins
Art Direction
www.joshwhettingsteel.com
Special Thanks Al Mills
Jamie Ford
Cameron JL West Jack Reynolds