So Young Issue Thirty-Two

The world is opening up, we’ve had some sunshine and

Keen to know more about the transition from engineer

we are oh so close to the ‘real deal’ of a live spectacle.

to artists, we sent over some Q’s. On the south coast,

The cover of Issue Thirty-Two features Chubby and the

Brighton’s Lime Garden have just released their new

Gang, a London band who have their sights set on every

single ‘Sick & Tired’. Keen to ask about their rise through

stage possible in the UK and beyond. A band born in the

lockdown, we gave them a Zoom call to discuss just that.

Hardcore scene and now bringing their take on punk to

Heading north to Leeds, we find newbies, English Teacher.

the forefront of the alternative world, we caught up with

Named in part due to a family history of educators, we

the band in a Camden pub to discuss their new album ‘The

get to know them a little better. Staying in Yorkshire,

Mutt’s Nuts’.

L’objectif are another new name on the scene. Barely old enough to taste the city’s hot spots, we chat about what

One album further down the track are Wolf Alice. Four

they plan to do now that the school shackles are off and

years on since the release of ‘Visions Of A Life’, the

how they find the balance between jazz and post punk.

band have released their third album ‘Blue Weekend’

Switching roses and heading to Lancashire, Manchester

and we gave them a call to chat country walks, braver

specifically, The Goa Express have released one of the

lyrics and looking forward to the return of audiences.

songs of the year in ‘Second Time’. We fire over some

Leaving London down the M3, somewhere in Fleet are

questions to dig the details on their work with Ride’s Mark

Drug Store Romeos. The three piece have been honing

Gardener plus how shared experiences are key to their

their dreamscape sound on the London circuit for some

sound.

time. With the help of Fiction Records, the band are about to release their debut album and we get deep with them

In Glasgow, art punks, Kaputt, have recently shared new

on language and communal exploration. Responsible for

single ‘Movement Now’, a track that confirms their status

some of the most exciting artists starting to surface are

as something to be very excited about. Being inspired

untitled (recs). Intrigued to know more about their process

by Downtown Boys and the importance of The Old

and what they aim to achieve, we got in touch.

Hairdressers were on the agenda of our call. To finish we head to the states, and in Chicago we find Horsegirl.

In London via the North East is Hussy. Following a

Recently signed to their dream label Matador, we squeeze

few teasing moments of brilliance in 2018, the multi

them for details on what’s to come and the programmes

instrumentalist is gearing up to release her debut EP.

that helped them come to be. From degree show to being our first So Young Records collaborator, we also get to

3 Lime Garden Sick & Tired

know illustrator and animator, Daisy Link.

8 Chubby and the Gang The Mutt’s Nuts

32 Kaputt Carnage Hall

12 English Teacher R&B

35 Daisy Link Stickheads

15 Wolf Alice Blue Weekend

37 Drug Store Romeos The World Within Our Bedrooms

20 Hussy Slayer/Playtime

42 The Umlauts Energy Plan

24 The Goa Express Second Time

45 L’objectif Drive in Mind

29 untitled (recs) All over the place

50 Horsegirl Ballroom Dance Scene Opposite, Molly Harman

Brighton based newcomer’s Lime Garden, are a genre-

I really enjoyed the livestream you did for Close

hopping manifestation of lo-fi “Dance-Punk”, meets early

Encounter Club - there were a lot of unreleased tracks

2000’s era Gossip. The sophomore signing to So Young

on the setlist, have you been sitting on those tracks for

Records, vocalist Chloe Howard, guitarist Leila Deeley,

a while?

Tippi Morgan on bass and drummer Annabel Whittle have spent the last year in a frenzy of dissertations, and creative

Chloe: We’re writing all the time. We have so much stuff

firsts; an absurdist-disco which saw the group amass

ready to go. We’re just trying to rehearse loads at the

attention from the likes of Annie Mac, and BBC 6 Music.

moment and get ready for gigs again.

If fever-fuelled elation is what you’re seeking, then look

Leila: Between the four of us, someone will always be in

no further than ‘Sick & Tired’- a uniquely Lime Garden,

a finishing mode and someone else will be in a simmering

electronically responsive number which yet again,

mode - we try to harmonise with each other.

establishes the group as core members of the soon-to-be C: We get very fixated on getting something perfect and

restriction-less, dancefloor.

then once it’s done we’re quite good at drawing a line. We This is a new generation of intuitive wit, and it’s

were really young when we started so we’ve learnt from

about time we all got ourselves ready for the relatable

previous experiences.

renaissance.

3

Words by Al Mills, illustration by Jolanda Kerttuli

The first, and only time I’ve seen you play was a So

Has that open-dialogue enhanced your creative process

Young night - it was at The Windmill at the end of

at all?

2020.

C: Yeah, I think so. We’ve always been quite aware of C: It was mad because when we signed to So Young

what people like, and don’t like that we do. We obviously

[Records], we all had Covid. It was on zoom and nothing

write for ourselves but it’s been interesting to see what

how we ever thought signing a record deal would be like...

certain demographics appreciate and vice versa.

My housemate joined the WhatsApp group you guys

Something I dig about you guys, and I know we’ve

set-up. I was going to do the same for “research”

spoken about her briefly already, but it’s your love for

purposes, but thought it might be a bit weird if my

Courtney Barnett.

name popped up on your phone an hour before our chat...

I went through a huge Barnett phase in my latter teensshe’s so fucking cool but she’d get a lot of stick when

L: It’s quite chaotic! It’s calmed down a bit now but

she was starting out for appearing “too mundane”.

we were really worried no-one would join. We thought

But now you’ve got artists such as Dry Cleaning who

it would just be a massive mates group chat, but the

seem to fully embrace this style lyrically. What’s so

interaction with people’s been so nice.

appealing about introspective deadpan?

Courtney Barnett created a website for her ‘Tell Me How

L: I definitely think it’s super relatable, and for me as a

You Really Feel’ album campaign- where people could do

listener, It’s nice to know what people get up to in terms

exactly that. It was a bit like the one Nick Cave has too.

of the “little things”. It’s fun when you beautifully say something so normal. I think it shows another angle.

Do you think it’s important to break the illusion of an artist being untouchable?

C: What I was going to say has just left my brain...

C: That whole stereotype of people in bands thinking

A: Our sense of humour collectively is quite dry - so the

they’re god-like is a load of shit. It’s so annoying - and

sarcastic mundanity fits into our lyrical content.

I think a lot of people think that way now, especially in an age where you earn like 0.0005p in streaming. Normal

C: I remember now... From our writing personally, we

people are making music so that whole connection is more

find it interesting hearing how every different person can

important than ever.

interpret what we’re doing differently. With mundanity, there’s so much more of a leeway for people to think about

Annabel: It’s also rubbish when you’re a fan of something,

what you’re writing. I find I sometimes romanticise things

and they’re the worst person ever... things like the

- situations where I’m trying to get something out of an

WhatsApp chat are something I’d like to have if I was a

interaction, to then have something to write about.

fan of the artist.

L: It’s also been nice to chat to younger girls in music.

We’ve had a few people chat about their set-up’s and we’re learning from each other as a community.

5

Lime Garden

Do you guys journal at all? I know Courtney Barnett

That kinda makes sense for the world you aspire to,

does for lyrical inspiration.

too? You’ve said previously you’re big Talking Heads fans... they’re a prime example of grown-up music that’s incredibly silly, but still globally respected.

C: Not really day-to-day. Annabel and I come up with weird phrases when we’re out a lot - or we’ll see something that’s a bit weird and we make a note of it.

C: I think that’s why they’re such a huge influence on us.

That’s probably the closest we get to journaling.

They’re constantly having so much fun but creating very technically advanced music that’s very exciting to listen

There’s less pressure that way too surely? I tried

to. Having that line in music is something we’ve always

journaling but I’d get so stressed at the thought of

wanted to experiment with.

forgetting something, or skipping a day, I couldn’t enjoy the process.

You need to watch the ‘Psycho Killer’ cover The Chats did with Genesis Owusu for Triple-J. It’s absolutely

C: Because we’re so observational, in a way, journaling

bizarre- simultaneously shit, and brilliant.

wouldn’t necessarily impact our work that much? Even if something’s a personal experience, we try to detach it as

C: It’s a bold song to cover!

much as possible as that’s our style of writing.

Inspiration for when you start gigging maybe... Do Does having a visual option too (music videos for

you have a roadmap planned out for the next coming

example) help keep things observational? I noticed you

months?

regularly use the director / producer Jay Bartlett.

C: We’re going on tour with Katy J Pearson which’ll be C: We describe our music quite visually with each other

so much fun; we’re BIG, fans of hers. Truck Festival too

and when we have a release coming up, we’ll have a

which is a huge deal for us, we’ve never played a stage

colour scheme in mind. We like to think of it as opening

that big before.

a little door to what the hell we’re on about all the time.

Jay’s great because he knows somehow what we’re on

L: It’s so weird as we released our first single just before

about.

the first lockdown and that’s when most of our growth happened. We’ve not really gigged with this audience

Tippi: There’s definitely been a lot of trial and error, but

before so it’s weird seeing the numbers, the record deal

it’s nice we’re in a position now where the people we

and all of this. It doesn’t feel tangible yet, it’s all been 2D

work with are ready to help us be fully creative.

on a screen.

C: We’ve planned out the next ten years!

C: I have very high hopes that everything comes back, we’re ready for it.

It’s great to be able to mature creatively, without necessarily having to literally, mature at the same time.

C: We’ve always said we started this band because we’re best mates. The fact this is happening is quite hilarious.

@jolandakerttuli

6

The story of Chubby and the Gang reads as one of an era

But as their music rattles by at breakneck speed, ‘The

gone by. Whilst supporting Royal Hounds on a last-minute

Mutt’s Nuts’ showcases a deeper dive into the glimpses

US tour, their debut album ‘Speed Kills’ was released

seen on ‘Speed Kills’, as we’re also treated to one of the

on independent tastemaker label,Static Shock. They had

most effortlessly listenable, melodic slices of brilliance

no agent, press team or financial backing - a few months

this year could possibly have to offer.

prior, they hadn’t even existed. By the end of the tour, they were featured across outlets like Rolling Stone and

In a world where the price of compromising a vision

Pitchfork, were packing auditoriums with hundreds of

seems to be little more than a midday slot at Latitude

fans, and were eventually signed to Partisan Records, who

Festival, it becomes almost impossibly magnetic to have a

physically re-released their ‘Speed Kills’ album later that

band who’ve earned their stripes, not played the game, and

year. For a band forged in the depths of the UK hardcore

are blowing up purely on the back of their shit-hot tunes

scene, writing songs about things like union fees and

rather than a haircut and affected neoliberal posturing.

Grenfell, and very much unwilling to contort and whore

We caught up with Charlie ‘Chubby’ Manning Walker and

themselves to the whims of the industry, it has been an

the gang in Camden’s scuzziest pub to talk about the new

insane dabble with the stratosphere from the starting gun.

record, political music, and scabbing.

Now a year on, having successfully navigated the pitfalls

Let’s talk about ‘The Mutt’s Nuts’. It’s a breakneck

that come with being a live band in a world with no live

record, but there’s definitely a progression from your

music, and on the cusp of the release of their second

first. Can you tell us a bit about some of the themes

album, ‘The Mutt’s Nuts’, we are treated to a deeper look

and inspirations that went into the album?

into the simmering cauldron of frenticism that is their world. Still keeping their feet in the waters of punk, the

Chubby: I don’t think it was a conscious decision to try

album is also littered with more than a splash of the pub

and create a theme on the record. A lot of it was written

ballad and rock ‘n’ roll flavour, whilst still maintaining

over lockdown, so it’s a bit more self-reflective than

a lyrical focus on issues like worker’s rights, police

‘Speed Kills’, there was a lot more time to think about

brutality, inequality and gentrification. Unapologetically

life, rather than just going out all the time. You’re forced

confrontational, The Gang are fighters by design,

to spend two months in a room, you have to think about

malcontent to sit back and feel the weight of the world

what you’re doing a bit more.

grow heavier.

Words by Dan Pare, illustration by Marco Quadri

8

Talking about lockdowns, how’s that whole period been

I think when you are forced to self-reflect and slow down

for the band creatively? Your first record came out,

a bit, then you automatically will throw in other stuff that

and it sort of seemed straight into it from there.

isn’t necessarily what you’re used to doing. Also, when you get into it you’re like ‘oh, I wanna do what Youth of

Chubby: We didn’t do that many shows before lockdown

Today or Discharge did’ or whatever, but then as you get

happened - the timeline was that ‘Speed Kills’ came out

older, instead of trying to reinforce those boundaries, you

whilst we were in America, then we came back and did

wanna open them up a bit. It’s us as a band saying ‘we’ve

like four shows and then back into lockdown. I don’t think

got another record, let’s take the blinkers off a little bit.’

we would have come up with the record if it hadn’t been for the lockdown, we would’ve been out on the road or

And was that just you guys doing what you were

whatever.

interested in? Or did you feel you needed to outgrow and move beyond the boundaries punk has, and avoid

Razor: I honestly don’t think it could have gone any

getting pigeonholed?

better, the lockdown has been just what the band needed.

Chubby: No, we never said anything like that. I would be Stuff happened really quickly for you off the back of

very happy to be pigeonholed as a punk band - if someone

that American tour, right? You put it out on Static

told me we were a punk band, my only response would

Shock halfway through the tour, and you were still only

be ‘Thank you’. But now we had the blueprint for what

really a part of the hardcore scene. You’re now signed

the band was, we could explore what it could also be - I

to Partisan Records, who I suppose are one of the

don’t want to say we had a foundation to build on, because

hottest labels in the world. What was that transition

that’s cheap and corny, but it was a moment of ‘this is

like?

the machine, now how do we soup it up a bit?’ There was no “What we should do is combine the country sound

Chubby: We were content to not ever be more than a

with punk, man”, we were just listening to a lot of Cajun

hardcore band, honestly. It’s not been that difficult - I’ve

records, and thought ‘that sounds good, we’ll have that!’.

spent pretty much my whole life on the DIY scene, and you do hear these horror stories of people signing to these

Razor: I remember when we were writing the stuff we’ve

bigger labels and then they get their house repossessed or

been doing recently, we kind of realised we also had a bit

some crazy shit like that. Really and truly though, it’s just

of a knack for it, it feels easy. There’s effort involved, but

a bigger platform.

it was also something that came easily to us.

Razor: It was maybe a bit daunting at first because we

Something that I’ve really enjoyed about the stuff

were so used to the formula of ‘our mate putting the

you’ve put out is that it is political, but it’s not

record out, another mate puts us on at his festival, all our

‘Political Music’. Is there ever a balance you have to

friends are there and watch us’. But I know someone from

strike there?

that band Eagulls, so I rang him up and got the lowdown and he said Partisan operated in a similar way.

Chubby: No, never. If anything, at least from a lyrical perspective, there are too many bands dancing around

The album is divided between the straight punk stuff

what they want to say. A lot of the time you come away

and the slower, more stripped back tunes. What made

thinking ‘how the fuck is that about that?’ I want our

you want to explore the latter?

music to be a bit like pub chat, where you corner people in the pub and tell them what you think about Brexit or

Chubby: Everyone’s big listeners in the band, they really

whatever. Doing that in musical form, it’s all about getting

consume so much different music.

down the ‘this is what I feel about this, and if you don’t feel the same then fuck you!’. There’s only so many times you can go out and write a song about love or whatever.

9

Chubby and the Gang

Razor: I think it’d be pretty impossible not to be political

Has there ever been a point over the last year where

in the music you’re making at the moment. If you go

you’ve actually enjoyed the time off, the chance to

outside and notice anything, then what you say is going to

focus on being purely a studio band for the first time

be coming from some kind of interest.

ever?

I read that you’re a union electrician, and your music

Chubby: No chance, live will always be the priority. I

is of the working class in its content. Is that important

don’t think we write songs thinking about playing them

to the identity of the band?

live, but I think coming from hardcore, having done that for so many years, will always be with us, you’re not

Chubby: That’s not a conscious thing at all. I always find

going to be able to get rid of it.

it weird that people are like ‘oh, you have a job?’ Because that’s something you just have to do, obviously. Also, I’m not going to talk about something I haven’t experienced,

Everything we’ve done has been as a live rock ‘n’

right? Even if it’s through writing in hypotheticals, I just

roll band - we demoed live, we record live. That was

want to express how I feel, something that’s real to me.

conscious also - you want that natural ebb and flow of a

I’m not thinking I’m the voice of working people, I’m

live band, rather than having that metronome tightness. On

just a union electrician, and if you scab you’re a prick. I

‘Speed Kills’, there’s a few bum notes here and there, and

don’t wanna feel we’re doing a political party statement

we decided to keep them in because it makes it so much

or anything, that does just make you a cunt. People have

better.

a weird thing about the working class, because you don’t Razor: It’s been a year since we’ve been out, so we

realise you are until people start talking about it.

haven’t even played any of the songs on our new album Can you tell us a bit about the recording process and

to a crowd yet. It’s gonna be mad playing bigger festival

everything that went into that?

shows and stuff as the first gigs back.

Chubby: A lot of it was done over emails and voice notes,

Chubby: I’ve never been to any of these festivals,

stuff like that. For the initial part of the writing process,

Download, Glastonbury - any of them! It sounds mental,

that was the first lockdown - there was a lot of calling

camping and all of that.

each other up and just asking opinions on stuff. Then we sharpened up the demos, went in and did it all in like ten

Lyrically, your songs really showcase the experience of

days. It felt like two years though, on the tenth day we

growing up and living in London. What is it about the

were still rushing to get shit done.

city that lends itself to that?

Having come up on the hardcore scene, the live aspect

Chubby: There are so many good songs about other cities

is its lifeblood.

- I felt that London was lacking in that aspect, so decided to try and fix that.

@marcoquasi

10

English Teacher have gained some serious traction

Where did the idea for that song come from?

off the back of their latest single ‘R&B’ which was lovingly nudged into the limelight by the superb Nice

LF: I had writers block, crippling writers block for ages

Swan Introducing series. Another stellar emergence

and also was seeing someone and it sort of went a bit

from the fruitful parts of Yorkshire, the foursome blend

wrong and I realised that it wasn’t helping my writers

alt-rock and indie psychedelia around the spellbinding

block and this song just came to me, and it was originally

and commanding vocals of Lily Fontaine. Gleaming

an R&B style song and I was like ‘Fuck sake, I can’t use

with honesty and originality, they possess a new-fangled

this!’ But I really liked what it was and I wanted to use the

attitude that’s not so easy to come by.

lyrics for something to put out with English Teacher.

What is the English Teacher aesthetic? If you had to

Does it tend to be like that, you will have written the

sum it up…

lyrics and then take it from there?

All: Brown and green (laughing).

L: Especially the new stuff, you’d (Lily) come in with a lot of new stuff. With ‘R&B’ you wrote that bass line and intro and then the rest… we don’t even know how it

Lily: Maybe a bit of beige.

happened, I swear we wrote it in an hour.

Lewis: That’s a hard question to answer.

LF: I think that’s mainly the process, I think a lot of the How would you describe English Teacher to a new

time I’ll bring a theme or some lyrics, but like Lewis said,

listener?

more recently we’ve been bringing in guitar lines, it’s nice.

Doug: That’s a question we struggle with the most.

D: But it’s all really collaborative at the moment, and hopefully it will be more. We work quite well when we’re

LF: Every song is quite different.

building shit, we agree a lot.

L: Yeah it keeps turning into something else.

L: We do, the best ideas come up.

D: I guess with ‘R&B’, which is sort of our first single to be out, everyone has labelled us as post-punk whereas we

LF: I think we all have similar enough taste but then also

feel we’re not really that at all. ‘R&B’ maybe is kind of

different enough taste that it works. Like Nick brings a

post punk, but the rest of them aren’t.

more math side to it.

Words by Emma Flynn, illustration by Neethi

12

Is the sound of ‘R&B’ a way in which you see

D: He’s a guest lecturer at Leeds Beckett and was doing a

yourselves veering?

production masterclass and then Music:Leeds who we’re quite involved with asked if we wanted to be the guinea

LF: I reckon in the past the one thing that’s been

pigs to the masterclass.

continuous has been my voice and everything else has been quite different around that. But I think now because

LF: And we were obviously like ‘Yes!’. He is an amazing

we’re writing together a bit more, the songs are maybe

producer.

becoming more similar, but I still wouldn’t say they’re He’s done amazing things! How did you prepare for

like ‘R&B’, I don’t really know.

going into a session like that?

L: There’s definitely more elements of that kind of music.

LF: I don’t know, I think we just got very excited and then LF: It’s a weird blend because I think ‘Treacle’ (‘The

very nervous.

Treacle Trap Door’) is more indie and then ‘Snowed’ (‘You Won’t Believe How Beautiful She Is When It Has

D: Nervous and overwhelmed and very starstruck. My

Snowed’) was like dream.

family are big Supertramp fans and Ken Scott was very big in the Supertramp world, so that was kind of mad

Is it true that the band name English Teacher came

meeting him, ‘Crime Of the Century’ is an album I grew

about because a lot of your family members are in fact

up with and so suddenly meeting someone who produced

English teachers?

it was awesome.

LF: Yeah there’s loads, but it’s one of the reasons. My dad

LF: But then we sat down with him, had some sandwiches

was one, my mum was one, my cousin is one, oh and my

and he was so normal and telling us all these mad stories.

aunty was one, oh and my uncle was one…

We were still really nervous, you know he’s literally talking about his personal experience with David Bowie,

D: Jesus.

but I think the excitement and wanting to learn stuff took over.

LF: I probably would’ve been one if I wasn’t in a band.

But the name was also because I just loved my English

What did you take away from spending time with

teacher at school.

someone like that?

D: I also had a really hot English teacher, I think we all

D: I guess how important the relationship between the

did?

producer and band is because he made us feel really comfortable really early on, so even when it was the

LF: I hope they don’t read this because they were all

masterclass there were lots of students in the studio itself,

lovely people, but they weren’t hot, I just fancied them

but he still made us feel like they weren’t there and that

because they had good taste in books (laughing).

helped us in the end to feel like we were on the same level.

I read that you had been in the studio with Ken Scott, how/when did that come about?

D: It was last February.

LF: We were talking to him and invited him to one of our gigs.

13

English Teacher

Nick: Yeah I had to ask people to leave the studio, and he

And then also when I moved to Leeds I sort of realised

was just great about it. He made us feel like we were all

that I missed my home town and I always thought I hated

on the same level. So respectful.

it because it’s got such a strong right-wing community and there’s not much to do there. A lot of the conversations

Going back to lyrics and the strong theme of writing

that happened there are a microcosm of wider issues that

about the North of England, why do you think you’ve

I’ve noticed in society and it was a good representation

leaned towards that so heavily?

of things that I wanted to talk about. Also it’s that sort of recognition of what’s important.

LF: Well a lot of those songs came about when I was writing my final composition portfolio at uni and I wanted

How do you overcome Imposter Syndrome when it

it to be thematically linked, and it was just a natural thing

creeps in?

to write about really. Where I grew up, Colne, I find it a very interesting place. It’s not very well off but it’s sort

LF: I really don’t know, I literally have no advice for

of juxtaposed by this incredible scenery of Pendle Hill

how to get over it because I have it! Honestly I think I

and the characters that live there. It’s majority white but

just reached a point where I was writing music instead of

me and my brother were the only people of colour in the

doing the things that I should’ve been doing. Then I put

area. I always think I just write down things that I see

it out, I was like fuck it, I like it, and then people liking it

and that are interesting. A lot of it is observation, of the

makes you want to do it again and again. I think also just

characters in the area, the scenery. I think that’s how it

the drive to do this as a job and not have to do something

came together.

that I don’t want to do is more than the fear of doing it.

We don’t let it stop us.

@kneethee

14

“Before the first album I wrote a lifetime bucket list

It’s amazing and it’s been quite a while so we’re all

for the band,” recalls Wolf Alice guitarist Joff Oddie

super excited. I really pray that festival season gets lucky

with his bandmates looking on from their Zoom

because we’re really desperate to play a gig, especially

windows...“Headline Brixton Academy, do a bus tour of

with our new songs.

the UK, Europe, America, and play on the Pyramid Stage.”

He laughs before continuing: “All of those got done within

Was it daunting returning with album number three in

the first year of releasing the record.”

these times?

The band have grown in stature with every move, and

Theo: There were definitely nerves because we didn’t

you’d be forgiven for questioning where they could go

realise quite how long it had been since we put music

next even after that early campaign. But from the grungy

out because we toured so much in between that time. We

anthems and tiny club shows through to the world’s

spent so long working on ‘Blue Weekend’ that you would

biggest stages, the four-piece have constantly looked

naturally have nerves getting ready to show people it. Also

forward while staying true to themselves. “Human beings

our first track back was ‘The Last Man On Earth’ which

are funny”, he reflects: “I’ve found multiple revised lists

is quite different to the stuff we’ve done before so it was

which say other things, which shows that as you move on

interesting to see how all that went. Now it’s just pure

the goal posts change.”

excitement.

Despite the strange times we’re living in, the band

You went to Somerset to write the album, was it

have managed to craft a triumph of a third album ‘Blue

important getting that headspace?

Weekend’ which pushes them further than ever before. The songwriting drops a guard while doubling down on their

Joel: I imagine it was, it was nice to reconnect as the

strengths musically, with singer Ellie Rowsell saying in

four of us again and remind yourselves why you do this

the run-up: “I still don’t know what the ‘Wolf Alice sound’

because it’s really fun and you love doing it with your

is from this record, but as a body of songs I think it has

band. So that was really cool and it was just nice to have

more of a DNA than we have had before.” With this in

an excuse to go to the countryside with each other to be

mind, we wasted little time in chatting about the process

fair. That time really was the beginning of all this.

and how it feels to be back in the swing of things.

T: I don’t think we had one country walk.

How does it feel to be back?

Ellie: No we did, I remember one...

Joff: It feels fantastic, even if it’s not out playing gigs, it’s so nice to be making music, showing people music, talking

JO: We got lost in a field and you had to carry everyone

about music and planning on playing music in the future.

through a stream…

15

Words by Rhys Buchanan, illustration by Sun Bai

T: Oh yeah, that was fun! It was nice to go with no

E: We liked the title because it sounds good and also

pressure, we didn’t have a timeline in our heads, we

because it’s ambiguous as to whether it’s something good

weren’t looking too far in the future, we were just coming

or bad. It literally came from talking about the weather,

back together and showing each other ideas, sitting around

like a blue weekend as in a clear sky but it also works as

a computer and doing what we used to do. It felt like when

something sombre. I think the themes running through the

we made the first album, we’d sit in Joel’s bedroom, plug

album could span a lifetime or could be condensed into

into his computer and work through these different ideas.

a weekend as well. It’s quite nice thinking about it that

We all got really excited quite quickly when we came back

way, it was good for the visuals that we ended up making

with a few songs, it was like, we need to sort a space and

as well.

start throwing ourselves into what became quite a long You’ve put an awful lot of work into that visual

process of making the album.

element, was that more important than ever with the It’s a really ambitious album, was that sense of

world so disconnected at that moment in time?

exploration important this time around?

JO: Definitely, at that time there was so much uncertainty E: I don’t remember consciously thinking let’s explore

as to what was going to happen and whether anything

our sound further or anything like that but I think we did

was going to open up. It was an opportunity for us to do

a little bit. I was saying before that we also just had more

something that we haven’t done before and also to give

confidence in what we already knew. When you’re starting

a light to some songs that maybe lended themselves to a

off it’s often about trying to do something new all the time

visual accompaniment more than ever. It was really cool

which takes a certain kind of confidence, but we realised

to have that opportunity and also great to have something

what we already know is good as well. What we know best

to throw yourselves into when everyone was struggling to

is what makes us who we are, so it was also about having

sit at home and look at their four walls.

the confidence to trust ourselves and play to our strengths.

I guess time is a big factor in offering that level of focus Topics of love and loss are palpable throughout the

and depth away from the road?

listen, would you say it’s a braver record in a lyrical sense Ellie?

JO: It’s so true and it’s the case with a lot of bands that the way things are scheduled can stifle your creativity in

E: Probably, I think I’ve worked in a similar way on all

different forms. It’s especially the case with songwriting

of our records when it comes to lyrics. It seems that this

because you kind of get put out to work. You see a lot

is the most honest and open because I’ve shrouded stuff

of bands follow a blueprint that a lot of people do. So

in less ambiguity this time around. It was about me trying

it was amazing and the whole experience was great.

to be a bit braver and I also think I’ve got a bit better at

Jordan Hemmingway who we worked with is a fantastic

it which is why it feels a bit more open. I’ve always felt a

director and he assembled a really great team. We shot

bit nervous about putting lyrics out there, it’s always been

eleven music videos over eight days and it was one of my

something I’ve thought about.

favourite experiences being in Wolf Alice that’s not just the musical side of things. It was just a fun experience, I

It’s a very reflective and melancholic listen at times, is

feel very proud about that to be honest, when I watch what

that part of the album title?

we’ve done.

17

Wolf Alice

In terms of other things around the release, does it feel

I’ve missed that kind of giddy feeling you get, mainly

like being thrown in at the deep end on a world stage

post-show to be fair, there were a few nerves for me

like Jools Holland and the Glastonbury showcase?

knocking around before. It was really lovely to play with each other. We were really lucky, it was a really beautiful

E: It’s been hard to play shows after such a long time with

day and just such a lovely experience.

none of the audience to bounce off of. It’s been really good in a way because it’s made me appreciate a crowd

You’ve been performing with Ryan Malcolm from

even more than I did before. I was thinking back to when

Superfood which must be refreshing, I’m sure you’re

you play a mistake or forget your words or just have a

looking forward to sculpting the songs further on the

bit of a mare in front of a few camera crew, it’s quite

road?

awkward. It should be worse if you do that in front of thousands of people but it’s not, our audiences are so kind

JO: He’s been joining us and it’s been really really fun,

and they cheer you on and encourage you to go on despite

even to get some of these new songs which are a bit more

your mistake. So now I’m like, thank you and I can’t wait

key heavy translating well live, but even some of the old

to make mistakes again.

songs. It’s also about looking back at how we can improve them and make them fresh, it’s been a really exciting

JO: The funny thing about Glastonbury is that it’s always

creative process.

been the one where you’re thrown in the deep end. It’s the biggest festival and no matter what’s going on, it’s always the first one you’ll do. So we’re almost used to being in

Ten years into the journey, did you ever expect to get

those fields fully out of our depth.

this far and achieve so much?

You’ve had so many amazing memories there over

JO: I think the thing that is the most important is us

the years from the tiny stages through to the Pyramid

enjoying making music together, playing shows together,

Stage, what was it like being back for the live stream?

and enjoying each other’s company as people and friends.

Whatever else happens comes secondary to all those

E: It was a really good day, it was really fun.

things. The goal posts will always change but if the fundamentals are there then we’re good.

@sunbai__

18

Rising multi-instrumentalist Sophie Nicole Ellison has

And to me, also reflects a freedom to live how you want.

been steadily releasing under the pseudonym of Hussy, capturing our attention with the scuzz pop, fever-dream

You’re also a studio engineer - how have you felt that

debut that is ‘Slayer/Playtime’.

has helped the writing and recording process and what would be the typical process from writing to recording?

Recent offering, ‘I Tried’ is a heady sludge-grunge pop stew, compounding elements of dream pop with the

It goes hand in hand for me. Being able to engineer for me

resulting factor being a riff-riot, pint-spiller. Hussy’s

means I can flesh out a song pretty instantly and produce

signature mesmeric wall-of-noise is reminiscent of the

as I go along while I’m crafting the song. A lot of the time

80’s and 90’s DIY American underground scene and

I hear the full picture in my head quite quickly so it’s a

wouldn’t be out of place if name-checked in Our Band

good tool for me to translate what I’m trying to achieve

Could Be Your Life. That being said, Hussy is so much

in my head. I do a lot of initial ideas in voice memos and

more than a revivalist and goes beyond the realms

then I flesh that out properly when I record it at home.

of nostalgia. Mosh-pit ready party starters, Hussy’s

Then I’ll replace anything needed in a proper studio.

gargantuan face-melting pop crosses the boundaries of

Knowing about the engineering side is just a tool to me to

genres and is one the most exciting emerging acts in the

make the music how I want it. The music and songwriting

country right now.

is always the ultimate thing.

So as the country is getting back to normal, I had a chat

Given multiple lockdowns, yet being multi-skilled in

with Sophie Nicole Ellison to get to know more about

recording engineering, did lockdown manage to hinder

what’s next.

your creative output at all? Or was it business as usual?

How’s post lockdown life been your end?

The whole pandemic has been a big lifestyle shift for me.

I’m still being really careful to be honest and still getting

Before the lockdown, I was working a full time job and

used to things being more ‘normal’ again!

doing freelance jobs on the side as well as doing my own music and playing for people here and there. In a weird

But it’s nice to have the choice to do things again and

way it’s paved a simpler life for me to focus on lesser

go into places and explore. I’m loving being able to see

things and I’ve had more time for creativity as a result.

friends again.

I’m grateful to have an outlet to turn to in such a weird time.

Talk us through your moniker?

Being a multi-instrumentalist, is it a conscious effort It came from a t-shirt I was actually given by my mum!

to keep Hussy as yourself and do you find that process

It’s a fashion brand from the 2000s and caught my

easier than having multiple entities in the process?

attention. I thought it’s kinda sassy and not taking itself

Would working as a collective be something you’d

too seriously.

consider down the line?

Words by Brad Sked, illustrations by Amyisla Mccombie

20

Doing it this way is just part of my process and a way

My influences are quite all over the place and feel like

for me to get my ultimate undiluted intention I have for

with this EP it’s the happiest I’ve felt I’ve interpreted

the songs. They are all intensely personal and I think this

them so far. Influences range from all the weird alt/

process really reaffirms that. With this industry (even

indie 90s stuff I grew up loving to all the things I listen

more so the audio industry) being very male dominated,

to now and also electronic, niche experimental stuff

I’ve always had a lot of dudes trying to assert their efforts

and pop music. I think when you love a certain thing so

and opinions over me, which only makes me want to

much it’ll always be ingrained in what you do and come

pursue doing it on my own more. If I can do something,

out even in the small subconscious details. For example,

why should I have to dilute that? I definitely feel like it’s

Sonic Youth, Helium and Pavement were big bands for

more accepted in the electronic world for women to be the

me growing up so that definitely lends to aspects of my

sole creator whereas in the indie world it’s still behind in

guitar style. What’s probably a more prominent influence

that regard. At the same time I do really love collaborating

on this new stuff is sparser music and acoustic stuff I’ve

and went through a stage at one point of playing in up

been listening to. I really tried to make this new EP feel

to 5 bands at the same time, so I had those outlets to be

more solo artist vibe and focus on space as opposed to my

collaborative in. Having my own project is something

older stuff which sounds like a band played it. I’ve listed

for myself and where I can have my own voice. I would

influences for this EP as Free Kitten, Smog/ Bill Callahan,

definitely like to have some of my talented friends and

Cat Power, Liz Phair, Sheryl Crow and Madonna in her

live bandmates guest in the future though.

‘Music’ album era.

Speaking of which, how did you begin making music

How does South London compare to the North East of

and were you a musician first and then engineer - or

the country and do you stay in touch with the music

the other way around?

scene in the North East at all?

I’ve always played music from a young age and been

Comparing where I grew up, to London, it’s as extremely

completely obsessed by it. I honestly think I always did

opposite as you can get! I wasn’t really able to be an

both in some form at the same time. I was always self

active part of the North East scene growing up because

recording on one of those Fisher Price cassette recorders

of where I lived being so remote. I was a big part of the

making whacky tapes of my voice and a casio I had and

Liverpool music scene though when I was there which was

layering it up. I was always super into the production

a great time. The North has such a strong music scene and

of records and finding out how people got sounds and

really needs to be given as much light and love as London.

looking at album sleeves to figure things out. I really think

I was meant to be playing in the North East last year but

this also ties in with where I grew up, being extremely

with the pandemic, got cancelled. Hopefully that will

isolated and having no peers who shared my music

happen again when things are back and safe.

interests, so I just slowly learned how to play guitar, bass and drums myself. It was only until I went to university

What’s been your favourite show so far and are there

I properly studied engineering as a degree, joined a band

any particular cities and venues that are favourites of

with other people and had access to real life recording

yours?

studios. Come to think of it, my sound tech uni entry submission was me playing all the instruments for it, so

YES in Manchester I loved playing and playing in New

not much has changed there!

York City.

I really dig how your sonic output intertwines genres.

What can we expect from you in the future in regard to

Talk us through your influences?

release plans and shows?

My EP is coming out in July and playing a headline show in October with a small support tour.

21

Hussy

Much has changed since we last spoke with The Goa

Everyone’s super. It feels like we have mastered the art of

Express. When reviewing the last 12 months or so, it could

getting by. It’s nice to see things opening up and having

be perceived that the band were one of the biggest losers

a catch up with people but we’d still all rather be outside

of the pandemic. One of those bands who’d released a

than indoors, in the sun, getting a much needed tan. A

single ready to thrive in a Summer full of shows, but only

British holiday! A staycation? Maybe… Everything feels

to be halted by the mass shut down of life as we knew

a little weird still, yes, but we are getting back into the

it. Whilst others tried to stay in the limelight with live

swing of things nicely enough. Think we all forgot how

streams and ‘content’, Manchester’s most exciting new

expensive going out was.

group put it all on pause and rode out the false dawn.

We last spoke at the beginning of 2020 in a pretty Following impressive early relationships with Fat White

different time and you were preparing to release ‘Be

Family’s Nathan Saoudi, and alternative go-to producer,

My Friend’ which felt like the beginning of a new

Ross Orton, the band chose to launch their tirade on 2021

dawn, albeit a false one due to covid-19. We now find

with the help of Ride’s, Mark Gardener. Mixing a BBC

ourselves a few weeks after the release of your anthem,

session into something we can all sing along to, The Goa

‘Second Time’ and the world is open. Can you tell us a

Express released their Summer anthem, ‘Second Time’

bit about the track, how it came together and why this

back in April. Where early singles ‘The Day’ and ‘Be My

was the right time to release something new?

Friend’ captured the raucous energy and freedom of the group, ‘Second Time’ showcases their knack for melody,

The track has been around for a while and has always

sentimentality and nostalgic nods, whilst all the while

stuck. Written with someone in mind, it feels more

feeling as authentic as it comes.

personal than some of the others. It was initially recorded at Abbey Road - with thanks to Lammo and the BBC - but

The five piece’s brotherhood may well have begun as

it wasn’t until Mark Gardener (RIDE) got a hold of the

children, and grown across the industrial towns of Burnley

track that we started to think about a release. Releasing

and Todmorden, but sell out shows in Manchester, and

it at the time that we did felt like a good idea and seemed

festival appearances across the UK, suggest it won’t take

like a song ready made for Summer and post lockdown.

nearly as long for everyone to want to join the gang, and

Now or never, baby!

the north is just the start.

Tell us about that relationship with Mark Gardener, How are you all doing? Have you managed to make

how did that come together and did having someone

the most of the newfound freedoms of being allowed

held in his regard work on your songs feel like a big

indoors? It feels kind of weird doesn’t it…

step forward?

Words by Sam Ford, illustration by Sammi Lynch

24

We have all enjoyed RIDE since youth so to work with

‘Second Time’ being a great example of this. Do you see

Mark Gardener was amazing and felt important. A step

yourselves as a slight counter to the current trend and

forward? Yes, maybe, but it also felt hard earned. Our

what’s important to you when it comes to building a

manager made the initial link and sent some demos, which

song that you’re happy for people to hear?

were met with enthusiasm. Mark then invited us down to his studio in the countryside, near to Oxford, to work up

We don’t tend to focus too much on what others are doing.

some magic. We spent three days down there, strolling

There is - and always will be - plenty of good music out

through the fields, buying food and alcohol from the

there, all that we are trying to do is to add more to the

garage.

ever - growing pile. But yeah, to some extent, simplicity for us can be key. We aren’t trying to invent anything new,

Your music, videos and live reputation have given off,

outdo or challenge anything that already exists, we just

for want of a better term, a gang like relationship.

want to get ourselves involved and do things in our own

Almost, friends first and band second. Has this

way. If we can get people singing along and dancing, then

relationship been pretty vital during a time where your

why not?

ability to express yourself creatively has been stifled?

That’s fair enough. With that in mind then, and no Definitely, we were all mates before picking up any

clear blueprint being worked from, what are the things

instruments. But being in a band has given us something

a Goa Express track couldn’t be without? Is it a sound,

more; something that adds even a little bit more

a feeling, something else?

excitement to being young. Sure, everyone has had their moments, but ah well, shit happens! Creatively, all

The experiences that we share together are essential to

is good. We’ve been pretty consistent with practicing

the music. Without them, there would be a severe lack of

because for a huge part of the last year, it was the only

both energy and feeling. Without a blueprint to work from,

thing we could do. We are in a better position now in the

it’s definitely centred around sound and feeling more than

band and as friends then we were at the start of it all.

technique or ability. When a track is first brought into the room, the first impression really matters and usually, most

Have you used the ‘down time’ periods to learn

of the time, a catchy chorus never ‘goas’ amiss.

anything new?

We’ve mentioned that the world is opening up and We all have things that we do to keep ourselves occupied

live music must be at the forefront of your minds right

and ticking over. Down time periods, however, not too

now. You have an incredible list of upcoming shows

sure. Who needs them? It isn’t a good idea to take your

and festivals. Are there any particular highlights that

foot off the peddle completely or to slow down too much

you’re looking forward to?

at this age. For the last few years, everyone has been occupied with University etc, but in a couple of weeks,

Hmmm. All of the gigs are sure to be highlights after this

everyone will be finished, and that will feel like the start

year of non-events. But in the near future, everyone is

of something new.

really excited for opening up at YES on the 21st of June in Manchester. It will feel special - a city reunion for us

It feels like a great time to be in a band, and you’re

and those who haven’t partied together for so long. As

coming through during a time where genre bending has

it’s been over a year since we last played a gig, this show

seen great success. The beauty of The Goa Express for

gives us the perfect opportunity to start with a bang and to

me, is almost the reverse of that. Simpler songwriting

then see where we end up. See you there!

with intent to make people move, sing a long or live in their heads forever.

25

The Goa Express

Molly Harman

You’re also gearing up to do plenty of other things such as Horsey’s debut album, ‘Debonair’. How did they come into the picture?

Horsey actually played at our launch party in July 2017.

They were doing all of these crazy live shows, but then For anyone familiar with the four years of output from

they’d keep disappearing. I’ve known Jacob and Theo for

London-based label, untitled (recs), it probably wouldn’t

a long time, and at some point during lockdown, Jacob

surprise you to know that founder Alex Putman is the sort

posted something on Facebook asking if anyone knew any

of person who “wakes up listening to Burial and goes to

record label people that he could send music to. I replied

bed listening to Diana Ross”. Responsible for everything

immediately saying “I think I know at least one”. He sent

from the post-rock epics of deathcrash to the hyper-pop

me the album, and it just sounded like something I could

experimentation of TAAHLIAH, the label have established

deliver on.

themselves as one of the most impeccable curators to have emerged from the UK scene in the last decade through

I understand that untitled also started out as being

sheer commitment to sonic diversity.

events as opposed to a record label; how did that evolution bring you to where you are now?

Completely unafraid to keep pushing boundaries and constantly allowing their following to discover a love

So basically, we’re just a failed promoter. We wanted

for something unexpected, untitled (recs) operates as an

that launch night to be the first of a series of nights, but

enigma amongst record labels.

we never ended up doing that many. I met Palm Honey, who were the first band we signed and who also played

I’m quite impressed by the sheer amount of new stuff

that night, and they told me then that they were sitting on

you’ve got coming up - you really have been hard at

three singles that they wanted to put out. I was working at

work...

a major label back then, which feels like a pretty strange past now. We agreed to put it out and immediately thought

It’s nuts - you try and manage a release schedule, and then

that it was no longer the launch night of a promoter but

you realise that everything always seems to have to come

the launch night of a label.

at the same time. If there were live shows going on, I think I’d be submerged. It’s actually a pretty good time to

You speak about beginning to do bigger releases, what

release music and just be able to focus on it.

was it like to work on something like Jerskin Fendrix’s ‘Winterreise’ last year which managed to gain quite

Where did all of the new signees come from, especially

a bit of traction? Did it manage to elevate the label’s

the likes of ELSAS and Rosie Alena who haven’t yet

status much and has it impacted what you’re able to

released anything for the label?

do now?

It’s a weird thing - we’d been speaking to them for ages,

I do hope so to an extent. I’m not sure if it’s fake humility

so they don’t feel that new to us. ELSAS was pretty

but nobody really cares about the label as much. Labels

quick though - I just really liked that Jockstrap track she

can look cool, but really we’re just an administrative

featured on, ‘Niños y Niñas’, but for ages I couldn’t find

company. It’s amazing with the culture around dance

any more information on her. One day I stumbled upon

labels in the 80s and 90s – there’s moments where labels

‘In For Tonight’, and then it wasn’t until I heard what will

did something really interesting – but nowadays it’s fair

be her debut EP that it all made sense to me. It was just

play that nobody really cares about the labels. We’re just

one of those moments where it hits you and you just think

trying to do the best for the artist, and doing something

“this is fucking insane”.

like ‘Winterreise’ is almost an honour because you get to work on a project that fundamentally you just really love.

29

untitled (recs), words by Reuben Cross

It’s great to hear that you care so much, and it shows in

Hopefully the minimal branding says it all - in an ideal

how carefully curated the roster is. I feel in the case of

world that just stays in the background. I was watching

smaller labels, it’s probably easier to love them because

an interview with the founder of Def Jam, where he said

it feels as though you’re approving of one person’s

about there being a point where they shifted from being

taste.

mega-branded to suddenly having really small logos.

It’s totally me fantasising, but I do like the idea of being

Yeah, you could technically sit down in a day and listen to

subtle and just being judged on what you’ve actually done.

everything we’ve done. Small labels do give you a sense of community and have a selective operation, but also

Is there anything you categorically wouldn’t touch?

when I think about what we’re doing, we really don’t put out that much compared to others. Some labels will only

No, I don’t think so, and that’s the amazing thing. There

have five artists for as long as they exist, and that’s still

are trends that come back. I mean, we all had skinny jeans

great.

and Airmax ‘95s that were really uncool once, but things change. I’ve got a joke with Jack [Merrett, vocalist with

The really nice thing is if you work with artists long-

Famous] that scratching is gonna be the next big thing.

term, you’ll be able to track their growth over time. You

Big up Jack.

then see how you can grow and be better at your job, so it’s a good thing to have. I know this is kind of in an

Where do you personally see things going in the next

ideal world, but you can create these beautiful stories of

12 months? There’s a lot coming out in the immediate

growing together where the artist ups their game, then the

future, but what are the next plans for expansion and

label ups their game and so on.

where does the vision take you?

What’s the process behind signing an artist for you?

I just feel like keeping it pretty tight and not letting it go

Nothing seems to be the same and there’s no strong

off in too many directions is the main thing. It’s always

identity to untitled (recs), so what makes something

exciting to have a new project and find new things, but I

suitable for you?

think we just have to continue doing what we’re doing. We just want to deliver consistently on all the commitments

‘All over the place’ is our motto. Imagine if I told you

we take. That comes with being a little bit selective, but

we’re a general label, people would laugh at that or think

it’s super natural. We make tons of mistakes, but we just

I don’t really listen to music at all. We’re not necessarily

want to make sure everyone’s happy and that everyone’s

sonically driven, that’s not something that interests us, and

doing the closest to the ideas and visions they started with.

we’ve been that way since the beginning. We definitely want to work with artists that feel like they know where they’re going because we can facilitate that; we can push them in the right direction. I was managing Jerskin previously, and he came to me one day and said “let’s just do it on untitled, I don’t want to release an EP ever, I just want this album straight off the bat”. I had to convince him to do singles in the end, but he’s definitely a guy with a clear vision. It’s not necessarily avant-garde, but it’s people who have a very original way of presenting their ideas.

Would you say that rather than having a label identity, it’s more like lots of individual identities?

30

There’s lots of special things about Glasgow, according

That song especially features lots of layers coming in

to art punk sextet Kaputt, who initially made their mark

at different parts of the song. The saxophone part,

with their agitated debut album ‘Carnage Hall’ back in

courtesy of Chrissy Barnacle, stands out, for instance.

2019. Singer and guitarist Cal Donnelly and bassist Tobias

How did that instrument come into the mix for you?

Carmichael speak passionately of the city’s fine dining spots and takeaways (Shawarma King and Errol’s Hot

C: I remember seeing Downtown Boys play at The Old

Pizza come highly recommended), venues like The Old

Hairdressers. They are an amazing punk band with

Hairdressers and likeminded bands such as Current Affairs

saxophone players. I think they were inspired by Bruce

and Comfort.

Springsteen and stuff, they used to do a ‘Dancing In the Dark’ cover. I always thought that was so unique.

Shortly after the release of their enthralling double single

I’d never seen another punk oriented band do that. This

‘Movement Now / Another War Talk’, however, the band

is before I knew about people like James Chance &

seem particularly fostered by the city’s sheer size: large

the Contortions. Tobias, Chrissy and me were working

enough to be in constant motion, small enough to harbour

together in a café and Chrissy had mentioned that she used

a community in which people from different scenes are

to play the saxophone in school. We just started playing

simply forced to interact which each other, to great avail.

guitar and saxophone together, with a drum computer.

“In Glasgow, it would be a rarity if six people got together

We were never trying to sound like Downtown Boys or

who had never been in bands before.”

whatever, but we were inspired by this idea of opening up a whole other area of tonality. That was so interesting to

How have the circumstances informed the new songs

me, and something that I knew nothing about.

and their recording process?

T: You probably associate it with smooth listening, but Cal: For us, the circumstances have become weirdly

throughout the fifties and sixties you get more cocaine

beneficial. The process of recording the single was

fuelled jazz, Miles Davis’ ‘E.S.P.’ and stuff like that. You

completely informed by isolation and distance. We had

get this phonetic, anxious energy from a saxophone.

to layer everything up, rather than record it all live as we normally might have. That was quite a strange experience,

C: When we started playing with it, I couldn’t believe

but a very reinvigorating one, I would say.

how much it elevated the music. It creates this tension that Tobias is describing. I find that really fascinating. I’m in

Tobias: It’s made us work slower as well. Not being able

constant awe of Chrissy being able to write things.

to meet up in big groups, we were only able to meet up in ones and twos to bounce ideas off each other, whereas

Do you think about such elements helping you to stand

prior we would all end up in a space together and maybe

out now there’s been a wave of bands, particularly

get a song done super quickly. Having the time to develop

London based perhaps, operating in the same vein?

them over a longer period of time has fleshed the songs C: It’s something that we get lumped in with from time

out more.

to time, but we seem to operate in a different atmosphere C: It’s definitely made us more considerate. Not that we

than a lot of other bands.

weren’t considering what we were doing before, but it’s nice to be able to actually explore the idea of taking your

T: Worrying about whether you stand out or not is

time, rather than the desperate rush to the end. We’ve

counterproductive to standing out in the first place.

never actually played ‘Movement Now’ live together in a room.

C: I think writing is such an interesting process. We’re not trying to make something to stand out, but to fuel our passion. We’re not trying to sound like Gang Of Four or Talking Heads ’77. That’s so boring. It’s been and gone.

Words by Dirk Baart, photo by Neelam Khan Vela

32

There’s also a distinction of course between bands

T: We haven’t really opened up yet and we don’t

that identify as British and bands that identify as, in

know when that’s going to happen either. For smaller,

this case, Scottish. With possibly a new referendum on

independent venues, we actually don’t know what the

Scottish independence coming up, I was wondering how

outcome will be. And that’s the same for larger venues

much you feel tied to the location that you’re in.

actually. Whether they can have socially distanced gigs is now based on how large their toilets are. So there are big

C: I’m from here, so I’ve always felt like a Scottish

venues in Glasgow that have tiny, tiny toilets…

band even though we have members like Tobias who are English. All people in the band have called Glasgow

C: Now that you’ve said that, the majority of them have

home for six years, seven years. The city has looked after

tiny toilets.

us and made us grow. When I played shows here when I was eighteen, I could barely play two chords. But the

T: So in terms of the physical nature of it and the things

people around me really nurtured me and pushed me on.

that uphold the scene, which are venues, it’s yet to be

I wouldn’t be able to write anything close to what I can

seen.

these days if it wasn’t for that. Maybe we’re not a Scottish What are the venues that your community revolves

band, but a Glaswegian band.

around?

T: I initially moved here to study English at Glasgow University. I started going to shows, spending time with

C: The Old Hairdressers has been incredibly important for

people from the city and engaging with the music scene.

us. It’s just a room with a PA, but I’ve seen some of the

When my degree was done, it was obvious I needed to

best shows of my life in there. Our practice space is also

stay. It’s a great place, for its art, architecture and people.

really important. It’s a shared space with twelve, thirteen

For its food, sometimes.

other bands. The building itself is a pay what you want café, very community oriented. Having the time to write

C: I think it’s very multifaceted. Wherever your interests

and not worry about what it’s costing is very liberating.

lie, there’s something for you. Because the city is so small, it’s quite hard to have prescribed scenes. It’s not like

The importance of community also shows up in your

London where you can be like: right, I wanna go to a cold

lyrics. ‘Movement Now’ and ‘Another War Talk’ both

wave night and then you can just go and find some people

show a sense of social engagement. How did you look

who look like they’re out of ‘The Matrix’ in a warehouse

at the Glaswegians standing up for their neighbours

somewhere. You have lots of bands that are quite different

and preventing them from being deported by the Home

from each other playing with one another.

Office recently?

Being so inspired by togetherness, how have you helped

C: Displacing people is never necessary. It’s shocking that

each other through the isolation of the past year? And

it’s normal. And it’s shocking that what happened here is

what is the current state of venues that are important

not normal. I hope that we start seeing more and more of

to your community?

these things. I think people are more socially aware at the moment, and more willing to act. They’re just not letting

C: It was really tough at the start. It’s tricky when you go

things like this happen, and that’s an incredibly powerful

from such an expansive social field to something that’s

thing.

very narrow. We’ve all looked out for each other. There’s been points when people have been low and we’ve picked

T: It’s a key example of what Glasgow is like. Coming

each other up. Even though it’s been a really difficult

together to aid others that you don’t know is emblematic

period of time, it’s been incredibly affirming as well.

of its community.

33

Kaputt

We first discovered Daisy Link’s work at her Camberwell degree show a few years ago and subsequently asked her to illustrate Hotel Lux for the print magazine. Now Daisy has just created several assets for our first ever release on So Young Records, Folly Group’s ‘Awake and Hungry’.

We wanted to find out more about the illustrator and animator.

How do you feel your work has grown since you graduated from university?

I feel like it’s evolved a lot. I took a break after I graduated for a few months and then started learning how to use the 3D software Blender, I found it really inspiring just learning something new. I tried not to think too much about what I was making, which was really enjoyable.

Who are some of your main inspirations?

Larry David, Barbapapas, I did a lot of research on Saul Steinberg during my degree, I’m a big fan of his work and thoughts. Also James Thurber, I love his stories and drawings. I made an animation test based on one of Thurber’s weird dog drawings.

Tell us about a typical working day.

Turn my computer on and work on any freelance projects I have on the go. If there is nothing, I experiment in Blender and try to produce new work. I like to use TV as a tool to let my brain relax, some TV shows I like to watch are: Curb your Enthusiasm, Keeping up with the Kardashians, Gardeners World and Midnight Diner.

What are you currently working on?

I have just produced some postcards for Late Works radio show on Resonance EXTRA. I have made several short animations with podcaster and comedian Poppy Hillstead.

I’ve also been meaning to create an animation of my worm character on a motorbike recreating that perfume advert with Keira Knightley in.

37

How did the transition from still image to moving image come about?

I have always been interested in it, I loved the 1970 Robin Hood animation title sequence as a kid. I like how you can use sound, movement, story and character to get an idea across, it’s kind of like performing but you don’t have to show your face.

How do you want people to feel when they see your work?

I like to make people laugh and to get a reaction. It’s funny when people say it reminds them of something else as I was probably inspired by whatever that is without realising.

Does music normally influence your work at all?

Yes, I listen to music a lot while I’m working. Sometimes I listen to songs and imagine a scenario in my head and then produce an animation or character from that.

What was it like working with Folly Group? We’re really excited about bringing different artists together and I think your work for the new EP came out amazing.

It was really great! I’m now a fan of their music and I’m excited to see their work evolve and grow. Really happy with the result of the covers, it’s also so rewarding to get something physically printed.

What can we expect to see from you in the near future?

I’ll keep experimenting and working on whatever projects come along, I also want to get my worm character its own Wikipedia page.

36

Seminal innovator’s Stereolab, once claimed ‘The Stars

Charlie: Definitely! It’s soothing. The soothing quality

Our Destination’; a “fluid and shifting” alternate reality

is particularly useful when you’re experiencing negative

where principles lie in socialist art-pop, frenzied groovin’

emotions. The current climate has left a lot of people

and the “conjunction of opposites”.

questioning their purpose and other things that bring you [into] states deeper, and darker, than melancholy.

Whilst cosmic ‘Motorik’ may not be for everyone, somewhere closer to home and in a not too Avant-

Floaty music is a good way to bring you up from those

universe, Fleet’s, Drug Store Romeos have amassed a

depths. Listening to straight up happy music can be

cult-like reputation for their timeless take on moon-kissed

grating or annoying... but this sort of music can be a good

and instrumentally transcending star-gazing.

step to feeling better.

As the trio ready themselves for the release of their

Where do you think audience accessibility lies in the

debut album, ‘The World Within Our Bedrooms’, and

encompass of creative experiment?

their biggest headline show to date at London’s Scala in November, now, more than ever, would be mystifying to

C: I suppose it depends on your intention. Maybe you’re

dismiss the soul-warming significance of faith, trust, and

creatively experimenting for the pure joy of it and you

psychedelic-pixie-dust.

have no desire to make music all the time. Maybe your purpose is in science. Perhaps the deep enjoyment of

You’ve said previously that you’re influenced by “90s

playing atonal-abrasive Noise Rock with a modded

‘Slowcore’- procuring music that’s focus is on layering

badminton-racket on a Sunday is satisfying enough.

and making you feel floaty”...

For me, I usually deem creative experimentation Given the success of acts such as Slowdive or Low,

successful if what I come across subsists of some kind of

and the imminent return of My Bloody Valentine, the

pleasing rhythm or melody. Nothing has to be anything,

90’s alternative-scene appears to be having a bit of

but there are certain characteristics and tonalities that

a renaissance. Is it fair to say that interchangeable

make things accessible to a large audience in a particular

atmosphere’s, or the notion of “feeling floaty”, is

culture. This changes and morphs constantly.

perhaps an experience we need more of given our current climate?

37

Words by Al Mills, illustration by Amy Moss

How can you tell when something’s a Drug Store

Songs like ‘What’s On Your Mind’ are dusky songs for

Romeos release?

me.

C: A Drug Store Romeos release is curious, exploitative,

Do you think there’s a language for everything?

yet a place you can feel safe. A home away from home and slightly off this planet. Most of all it’s something we all

C: I suppose language is something that, among other

appreciate and think represents the band.

things, contains an idea or a message or a concept or emotions. The sounds and symbols we’ve learnt to make

Where does sensorial exploration fit within the Drug Store Romeos universe?

have been pretty good at conveying these things.

You said ‘everything’. I’m trying to think of things that can’t be conveyed totally... There are some levels to

C: I wish we could include a collection of vials with

internalised human experience that are near impossible to

smells that we associate with each song. Maybe album

get across to people. Often moments that contain a mixture

two? We like to think our music conjures up imagery

of emotion / stimulus / subconscious drivers of particular

that you ‘see’ in your mind. We thought about the sense

ways of perceiving things that all amalgamate to give you

of touch when choosing the type of card that our vinyl

a particular body & mind sensation.

would be printed with. I like to [tangibly] explore my environment. It’s important for me to touch things when

I read that the Buddhists view the mind as a sense organ

exploring a new place to enhance my understanding and

so that’s why I’ve used the phrase ‘mind sensation’. I’m

experience of the area.

interested in the idea of Panpsychism (everything has a level of consciousness) and if that were to be true, then

I read that Sarah, you hung a copy of Agnes Pelton’s

perhaps on some level everything can communicate with

‘Orbits’ painting in your vocal booth- you said it’s

a form of language. I was watching a Randall Carlson

where you want your voice “to exist.”

lecture on YouTube and he says the Universes’ language is maths and shapes... Sacred Geometry.

At what point did this click for you?

The artwork for your releases to date have a Sarah: When I sing, I close my eyes and watch how my

beautifully cohesive feel to them. Has it been a

tone and inflections enhance the colours and space of the

conscious decision to maintain a somewhat linear

song behind my eyes. When I saw this painting it was as

aesthetic?

if someone had reached in and drawn the landscape and lights I see when I sing.

S: That’s so nice to hear! Other than the ‘Jim, Let’s Play’ cover that someone else made, it’s always been at the

The place I want my vocals to belong can change rather

foreground of our artwork to have that intimate handmade

drastically. I guess these are our night and day, the other

feel, and so the texture, and quality of them is super

songs belonging somewhere in-between.

important. Just as we pay respects to the intricacies of life in our lyrics, the same goes for the artwork. Every little

Do you write with a particular time of day in mind?

textural groove and grain is as important as the last.

C: Not always, but usually as I’m developing the song a vague image will begin to build in my head. Normally the ‘image’ contains some sense of light quality and amount.

If a song has darker hues in my head I begin to associate it with a dusky setting. Sometimes Midnight.

39

Drug Store Romeos

Can you tell me a bit more about your love for ‘The

Often the loss of an initial idea in translation can create

Secret Life of Plants’? I know Stevie Wonder did the

some rather interesting results too. Mistakes and happy

score… It was also the first time in history that a ‘Digi

accidents. I think most people agree that different people

Sampling Synth’ has been used which I thought was

bring out different sides of us, and the more we hang

pretty badass.

around with different people the more we understand ourselves as a whole... The same goes for writing. That’s

S: ‘The Secret Life of Plants’ was a book by Peter

why it’s important to keep changing it up, and why as well

Tompkins and Christopher Bird before it was turned into

as writing with Jonny, Charlie and myself alone, I write

a documentary. Knowing I was very excited by everyday

with other friends mostly once a week.

magic and the unexplainable phenomena, an old friend of How has ‘The World Within Our Bedrooms’ altered

mine gave me the book.

your mental states over time? If at all?

I was a few chapters into reading it when it totally changed the way I saw the world, cementing that there’s

S: When you’re working on a body of work that reaches

a hell of a lot going on we just aren’t tuned in to. I would

years into your past, you’re often caught in moments of

carry it around like a religious text trying to convert

nostalgia. It was more the process of every time we’d

people into believers of ESP and Cleve Backster by

move onto the next song, I’d feel myself walking into a

reading long passages in Pubs after gigs etc- which was

past version of myself.

met by varying enthusiasm...

Reintroducing myself gently, treading into her feet to feel How important is communal exploration to you as

the thoughts and view of the world I had at the time of

individuals, and as a band?

each song’s fruition... remembering to respectfully leave them again when the time was up. Feeling maternal and

S: I think the process of creativity and creation is a

nostalgic over them all, but knowing a good mother must

conversation between you and your medium. It’s an act of

learn to let go.

bouncing your vision/character off your medium and back into you again.

@amymozart

40

Composing music that crosses artistic and country lines in

Intercontinental confusion! (laughs) We were discussing it

amongst the backdrop of the UK leaving the EU is either

with a friend recently and described it as we all vomit in

genius or foolhardy. Luckily, The Umlauts are full of the

the same bucket.

former. With a panache of lavish-yet-rough-around-theedges electronic sounds seeping out of their every pore,

The genesis of the band formed in an art space, do you

whilst their subject matter centres among the intellectual

think that gives you a different perspective to other

and political spectrum, The Umlauts are set up as a very

bands when creating music / something new?

interesting prospect. Soon after their energetic new single ‘Energy Plan’ has arrived, we catch up with the band as

I think regarding the art practice it does have quite a

they prepare to unleash more artistic diamonds in the form

big influence, especially where the lyrics are concerned

of their debut EP ‘Ü’.

as some of what we write is based on that practice. We usually pick out little bits from writings we’ve done for

The big wide world has just reopened, inside anyway.

work or sculptures we make which gives everything we

How are The Umlauts feeling about it all?

create a more physical presence. When it comes down to it, none of us are particularly accomplished musicians in

Yeah, pretty good. We’ve been rehearsing a lot actually

the more typical sense of it and we definitely get by on

since the restrictions were lifted and as we’re an eight-

our rudimentary knowledge of it. I do think, however,

piece live, it’s been good to get everyone together to do

that meeting in that environment acted as a springboard

those rehearsals properly. We’ve also been working on

for us to try things out - Art school is good for that in

EP two as well so it’s quite exciting that everything is

general. It allows you to fuck it up a bit and try again and

happening at once behind closed doors at the moment.

that resonates with us and the way we make music too. It allows us to constantly try lots of things out as a group

In terms of [plans for the] first weekend after restrictions

and that’s probably why everything becomes enriched

[were lifted] it was a chilled one. Ollie and Alf recorded

with those beeps and boops. Pretty much everything we

some live violins for the next project with our violinist

do comes with its own spontaneity even to the point that

Magdelena which was new and great. Previously we’ve

we don’t live super close to one another right now so

written everything with midi so to have some live

seeing how things go week to week can be so different.

sounding strings gives it a completely fresh lease of life

Sometimes we can work together for a few days and then

which is probably the biggest distinction between the two

not see each other for a few weeks, so it comes and goes.

records; the live sounds aspect versus the electronic ones

When it does work though it’s great. We begin by creating

from before.

these musical sketches that’re about a minute long and then start developing them as a group and create these

How would you describe The Umlauts to somebody

songs out of these very rudimentary roots.

who had never heard of you?

Words by Matt Bisgrove, illustration by Anna Beil

42

New single ‘Energy Plan’ carries a really cool air about

Debut EP ‘Ü’ seems to travel across the European

it. It simmers at a bubbling level, before serving up an

expanse - both musically and culturally - take us

electro-lead finish. What’re the inspirations behind the

through the influences.

track?

A lot of the riffs take influence from an Italian background It’s funny actually because that track actually features

and definitely harbour some Ukrainian Folk scale

an old riff that Ollie and Alf created a few years ago at

influence and there’s also this musical and cultural techno

sixteen or seventeen and we just started building on it. We

undercurrent that runs through our tracks - especially

wrote it not long after ‘Boiler Suits and Combat Boots’

‘Energy Plan’. We find ourselves listening back and

so it sort of came along the same way where we picked

realising that it doesn’t constantly conform to the usual

a phrase, gave it to Annabelle and she picked and played

scales and is definitely a slippery track, in that it slips

with some words around it. This time with ‘Energy Plan’,

out of key frequently. Another huge part of the EP is that

it centred around a phrase Ollie read on the front of a

Annabelle and Maria are singing in their native Italian

book by the artist Joseph Boyce that said “energy plan for

and German tongues and there’s a celebration of language

the Western man” and again sent it through with literally

across everything that we’re doing. Especially in amongst

zero context. What came from it though was great because

this backdrop of the UK leaving the EU, we feel like it

the quote was misinterpreted and gave birth to like this

acts as a unity and ode to home. The most interesting part

frustration at men in general and lack of empathy for

is that when they both write lyrics, they don’t actually

anything outside of themselves. When it came to vocal

know exactly what the other is writing, but it’s done on

delivery Annabelle felt like it was something to literally

how the song feels more than anything else.

shout about, but hadn’t shouted in a track before so was psyching herself up by stomping around to create the

Now that shows are seemingly going ahead later

energy for it! With our music we like to create something

this year (fingers crossed), how’re you feeling about

then excavate it as it’s all mostly a happy accident before

performing live for the first time?

anything else.

There’s an array of emotions really. We’re excited, so The video itself stands out as an art piece. How does it

excited, but also terrified. We feel like there’s so much

connect to the track? Or is it to be consumed without

unused energy inside of us that we can’t wait to get out

context?

there and share with everyone. We just want to get that first show ticked off and out the way and have things

What we’d really like to do is involve lots of different

come to fruition a bit. As we said earlier we’re an eight-

artists for anything visual in the group. We feel that it’s

piece live and we have great musicians working and

so important to have that aspect where you can detach

collaborating with us and I find even the rehearsals so fun

yourself a little bit and give somebody else a chance to

with the eight minds coming together. The tracks that’re

consume the song and see what their take on it is. What’s

already recorded for this EP and the next have taken on

more is that Clara and Bruno [Atkinson - co-directors

their own new lease of life live and we can’t wait to share

of the video] had no idea what the song was about as

that.

it was in German and we never sent them the English What are your plans for the rest of the year?

translation! So they interpreted that quote in a different way and they went for a consumerist take on it which we find so interesting that that one quote gets carried through

Survive! (Laughs) We’ll try and get as many shows

different interpretations like a chinese whisper. It’s far

together for the rest of the year and continue working on

too easy to be too controlling over things when it comes

the next EP. Annabelle and Maria may go to Austria later

to visuals in music, so it’s great to get somebody else’s

in the year, so The Umlauts might disappear for a while,

vision involved definitely.

but we’ll be back and ready to present some new music thereafter.

43

The Umlauts

@mollly.h

There’s no better kick than hopping on a buzz band one

That’ll make for a great first chapter in the

step ahead of your fellow muso. Now could well be your

autobiography down the line. What was the first gig

chance. With a debut EP and headline sell-out on the

that you guys played together? I remember my school

imminent horizon, you’d be forgiven for thinking that

days gigs involved the local community centre and

Leeds hailing four-piece, L’objectif, have been carving

bargain basement vodka...

their place on the underground scene for quite some time.

In actual fact, you can find them still at school with their

It’s weird because I’ve played many gigs with Louis – it’s

heads buried in a ‘Bedroom Recording for DUMMIES’

essentially all been the same band just at different times

manual.

and stages. We’ve only played one gig together as a fourpiece and that was a random last minute support slot in

Blurring the lines between jazz and post-punk and

lockdown and socially distant. Everyone was sat down and

never scrimping on catchability, the Yorkshire lads

flicking through their phones, so it wasn’t all that good.

are a welcome injection of new blood onto an often regurgitative circuit. We caught up with frontman Saul

On the upside, it’s a special thing that you now have

Kane to discuss their sudden surge in popularity.

the recorded tracks sorted before you finally start gigging properly together. Listening to your music, you

Growing up as school mates first and band mates

can certainly hear both jazz and post-punk influences

second, have you found this has translated in the

at the forefront. Do you find your sound is floating

songwriting process?

somewhere between the two?

Me and Louis (drums) first met when we were 12 in year

I love jazz! A lot of the chords that I use in our songs are

8 so that’s when it all started really. Songwriting wise,

jazz chords rather than simple major ones. I love artists

the band has only built up recently with Dan (guitarist)

like King Krule and Mac DeMarco and the new form of

and Ezra (bassist) only joining last year, so it’s been

artists who tap into bossa nova influences. Post-punk has

mainly me and Louis for quite a while. I’m not sure how

played a massive part of course. I like pop structures for

it’s affected the songwriting itself, but the other members

songs as well, using easy on the ear forms for our music.

coming in has definitely added new elements because

I love jazz, I love post-punk - put them together and that’s

they’re all into different types of music.

us.

Dan is actually Louis’ mate from nursery. They hadn’t

Taking your name into account, are you guys

spoken to each other in years. Louis just randomly

influenced by more than just the musical artform? If so

remembered, “for some reason I know my best mate from

who, what, where?

childhood plays guitar” - and we needed a guitarist. Ezra We love all kinds of art forms, it’s not just music. I’d

went to our school.

like to think that as time progresses, we’ll expand into He couldn’t play an instrument, so we begged him to learn

other mediums. I just love creating, it’s great when we get

the bass and now he’s one of the best bassists I know by

talking about making music videos for this or short films

far!

for that. We’re all inspired by music, film and art, and we love artists like Jean-Michel Basquiat.

45

Words by Laura Pegler, illustration by REN

The term art-punk springs to mind.

You can kind of tell in the lyrics that everything on the EP was produced in lockdown. They’re quite self-referential

For sure. I think a lot of our songs vary, some are very

so you can probably tell that it’s all connected.

punky and some are far from it.

How did you sign to the indie label Chess Club Records Let’s get to the nitty and gritty of your forthcoming

(Sinead O’Brien, Alfie Templeman)? What’re they like

debut EP ‘Have It Your Way’. There appear to be

to work with?

contrasting moments of brain bashing one minute and getting into a funk-led groove the next. What should we

It was initially quite a sick way to get signed to be fair. We

expect from the EP?

were on twitter and BBC Introducing have a ‘Feedback Friday’ where bands can upload their tracks. I think

All the tracks were written around the same time, but

we uploaded for every session because they allocated

you’re right I don’t think that they all sound the same.

different people from the music industry with separate

It was definitely inspired by loads of different things.

times to give feedback. Will Street (co-founder of CCR)

There’s the obvious jazz and post-punk influences in each

said we were one of the first bands that kept popping up

song, but also lots of funk in there as well. Each track is

on his feed - Louis had his finger poised and ready to send

like a different reflection of our overarching influences.

each time. We snuck our age in there too to maybe grab

I’ll be honest, when I’m writing music it’s mostly about

their attention a bit and they said something along the

the sad times. I think that, lyrically at least, I’ve never

lines of “this sounds great, I can’t believe you’re only 16”

written a happy song. There are loads of great upbeat

and it all went from there really.

tunes out there, that’s just not really my thing (haha). I like to pour my brain onto the paper and think, ‘ok that’s

You mentioned that you’ve only had one gigging

rubbish, that’s rubbish’ and then clean it all up afterwards.

experience to date but now it seems you’ve already sold out your first headline show in Leeds and announced

A bit like a brain vomit where you see flashes of the

that you’re playing Liverpool Sound City - congrats!

delicious cheese sandwich you had earlier?

How keen are you to get back to the live stuff?

That’s exactly it!

I’m so excited! I think we’ve got a lot to add into our live performance that people haven’t seen or heard yet.

How did you go about recording in lockdown?

We’re definitely all performers so we can’t wait. Not being able to play a gig in over a year has been terrible, so

Everything on the EP was pretty much recorded in

we’re all so ready to get out there and play anywhere and

lockdown. We’d been writing music for so long that the

everywhere.

main question was - how do we get it out there? We didn’t know what to do. Then once lockdown hit, I thought I

Has the underground alternative scene in Leeds played

might as well just try to record and produce some music

a part in your rise over the past year?

myself. I spent days on end learning about production, trying to get some average production down so that we

To be honest we’ve not been able to properly experience

could finally get someone to listen to us. It was quite

the Leeds gig scene ‘cause we’re too young. The last time

difficult, because it was at the time when you couldn’t see

that we were properly gigging was when we were 14 and

any of your friends so there was literally nothing else to

we weren’t allowed to go into any of the main venues, so I

do. I love making music so that’s just what I did all day

don’t think we’ve had much interaction with the scene yet.

every day. A definite lowlight was getting too bogged

I’m sure it’s amazing! L’objectif all started with bedroom

down when I didn’t really know what I was doing. When

recording so we haven’t had a chance to be around any of

you’re just starting out, you find yourself in a bit of a

the live stuff which is annoying – but I’m sure we will!

rabbit hole sometimes.

47

L’objectif

Horsegirl Gradually rising in an ether of slow burning feedback and

Yo La Tengo, Sonic Youth, Stereolab - all the while

layered vocal takes that ring like soporific incantations,

channeling the kind of DIY spirit that is at once timeless

Chicago’s Horsegirl seem to embody the urgent spirit that

and then inimitable, given the uniqueness of it’s new

forged this publication into existence and probably why

bearers.

you, dear reader, are bothering to read it.

Your debut single (proper) only came out back in For Horsegirl’s world - just like ours - is one of DIY

February and now you’ve signed to the incredibly

fanzines, underground gigs in community spaces, high

influential Matador label. How does it feel to be

fashion with a self aware dash of irony and a feverish

rubbing shoulders with some of your influences at such

fandom which seems to place their indie rock heroes as

an early stage?

well as their modern day contemporaries on a similar pedestal.

Nora Cheng: It’s really weird. And from the start, the first big piece of press that we got was with the Chicago

Following a swiftly sold out 7” release via tastemaker

Tribune. I don’t know if that means anything to you from

shoegaze label Sonic Cathedral earlier this year, Horsegirl

across the pond, but back when that article came out,

and their unifying vision for who and what they want to

during the interview, we joked about our dream label

be have been further emboldened by their signing up to

being Matador and talking about it as a joke, like this

legendary indie rock label Matador Records,

type of thing that would never actually happen but that we

“We spend so much time together, we’ve created this

thought would be really cool.

weird culture of us knowing exactly what we think is cool, visually, musically, performance wise, and that’s what’s

Penelope Lowenstein: It’s just funny, because we’re all

validating about getting signed”.

such music fans that my friends and I would kind of like, you know, fight about the best label in the whole world.

Having barely finished high school and contemplating

And I was always like, “Matador! They have everybody”.

their future together, it’s clear to see when interviewing

Just for the kind of music we love. So it was like some

Horsegirl that we are witnessing one of the rare

dream that was out there and so I think it was a little bit

synchronous instances that makes a musical group tick -

freaky. Like, we did not expect to ever be on a call with

like a time lapse of lightning striking the celestial chord

those people. It was insane.

that then pronounces and articulates a vibrantly golden ratio of unbridled sonic creativity.

Gigi Reece: There was one time where we were like, at one of the only shows we’ve gone to and Yo La Tengo

So far, Horsegirl’s limited output careens between the

were playing, and we were like, “Oh, my God, love

ghostly and ethereal nature of that aforementioned sold

this song!” And then some guy was like “That’s your

out single ‘Ballroom Dance Scene’ and it’s anthemic AA-

labelmate.” And we were like “Oh god no. We don’t know

side ‘Sea Life Sandwich Boy’ which surges forward with

about that!” (all laugh)

a sunburst of smouldering distortion and youthful abandon recalling that of their influences and new label mates(!)

Your home town Chicago is home to an abundance of youth performance programmes which enabled you in your earlier days as young musicians to cut your teeth.

Words by Sammy Clarke, illustration by Jazmin Key

50

I feel like local authorities all over should be trying to

But it’s kind of just like, once you get into a room, once

offer young people these safe spaces to try something

you get into like, this sort of groove, you’re kind of in

scary and new. How important do you think this was

sync, and then it seems that songs can build off of that.

for the formation of Horsegirl?

GR: It does rely a lot on what we were talking about with GR: Specifically, the programme we met each other and

being able to play with other people and forming that

became friends in, was really focused on live performance

connection is like, basically, that foundation of learning.

as well as learning your songs by just listening by ear.

That is the best way that we work, when we’re together

Which is a really important skill, I think, is to be able to

and able to feed off of each other’s ideas.

like, listen to a song and pick out the parts.

PL: I think that we kind of write on the fly, I don’t really PL: We were at a programme where we learned how to

know how else to say it. Like, we’ll just be together,

play with other people and that was so valuable because I

someone will bring a small part and then we’ll just flesh

think learning an instrument on your own is a different art

everything out. And it’s like working with Nora as co-

form than it is to learn how to communicate with others

guitarists, it’s like we’re almost writing parts for each

and how to improvise with other people. So I think that’s

other.

like a really valuable skill.

The existence of Horsegirl has largely coincided with When you’re young and into music, it’s like, so hard to

a global pandemic - I’d imagine then that you haven’t

find kids to play with or talk with. At my high school, I

toured much so far. Is touring something that you’re

never really met kids who have the same music taste as

looking forward to being able to do?

me. But in this music programme; we met each other, we’ve met kids to go to shows with, like a whole scene

GR: We fantasise about tour. And obviously, every artist

kind of started brewing. That was really wonderful.

ever says that touring is so tiring, and you get sick and it’s

Also, in Chicago there are a lot of youth run shows and

awful and I’m tired.

collectives and we met a lot of people that way. And I feel like it’s also really important for young people to

PL: They’re like, “You guys gonna fight with each other.”

organise their own shows. And because we’re under age we couldn’t go to adult shows. So like, we had a place to

GR: Yeah, but we’re just like, so pumped to get mad at

go, we had a place to meet other kids and be inspired. It’s

each other and sleep in a van. (laughs)

so cool to see young people doing cool stuff here.

What can we look forward to with your first record?

GR: Yeah, we’ve just got to have the people that’ll take that initiative.

PL: We are so bad at describing it to people, every time we try, it’s like they don’t understand what we’re talking

You all share vocal duties with passages of spoken

about. I think we’re trying to have a punk rock energy or

word poetry at times overlapping singing parts that

punk rock...

altogether can create a quality of hypnosis in your music - could you tell me a little bit about your writing

NC: Although it’s not..

process?

PL: It is not punk. It will not be overproduced. We’re not NC: It’s hard to describe how the process works because

going to make a polished…

there have been times when we’ve reworked songs, like we’ve reworked multiple songs, and they’ve taken

GR: We like to say we are sticking to our DIY roots, even

completely different routes. And you can’t really retrace

though we are certainly not doing it all ourselves..(all

exactly how it happens.

laugh)

51

Horsegirl

Artists

Josh Whettingsteel Molly Harman

Editors Sam Ford

Josh Whettingsteel

Writers Sam Ford Al Mills

Dan Pare

Emma Flynn

Rhys Buchanan Brad Sked

Reuben Cross Dirk Baart

Josh Whettingsteel

Jolanda Kerttuli Marco Quadri Neethi

Sun Bai

Amyisla Mccombie Sammi Lynch Daisy Link Amy Moss Anna Beil REN

Jazmin Key

Cover Photo

Jordan Hemingway

Matt Bisgrove

Photos for Collage

Sammy Clarke

Jordan Hemingway

Laura Pegler

Printed By Ex Why Zed

Email

info@soyoungmagazine.com

Website

Sirus F Gahan

Neelam Khan Vela

Percy Walker-Smith Sara Carpentieri Louis Butler

Art Direction

www.joshwhettingsteel.com

www.soyoungmagazine.com

Special Thanks

News

Harley Cassidy

@soyoungmagazine (Twitter)

SoYoungMagazine (Facebook) soyoungmagazine (Instagram)

Jack Reynolds Jamie Ford Dan Pare

Cameron JL West