So Young Issue Twenty Four

Issue Twenty-Four

PVA The Magic Gang Rosie Alena Porridge Radio The Orielles Disq Scalping Orlando Weeks Legss The Goa Express Baxter Dury Hotel Lux

Michael Taylor, ‘The Mantis Jamboree’ Mixed Media on Paper

The new year has taken its grasp, and 2020 promises at the very least, six magazines from us at So Young. We first spoke to The Magic Gang back in Issue Five and we’ve caught up regularly ever since. 2018 saw the band release their debut album and wave goodbye to a lifetime of work.

Two years on, the band have released their first single from the upcoming second album and you’ll find them on the cover. We give Kristian and Jack a call to talk ‘Think’ and bringing in the horns. There aren’t many bands who excite us more than PVA right now. The London group have been moving growing crowds with their brand of band led dance music. They took our call as we sought a thorough introduction into their world. Staying in the capital, Baxter Dury talks us through his progression from spoken word to delusionally urban and Hotel Lux take a break from writing dissertations to give us an insight into their upcoming debut EP.

Porridge Radio’s DIY slog has reaped the reward of a

record deal with Secretly Canadian. As they prepare to

release their second album, we touch base to talk about

emotional landscapes and arguing to avoid boredom. Last year teased singles from some of 2020’s most exciting

bands and we got in touch to add some detail. You’ll find

chats with Rosie Alena, Disq and Legss, all of whom you should plan to see right away. In Manchester, The Goa

Express are causing a stir. After years together in Burnley and Todmorden, the band are breaking out and we catch up to find out what we should expect and try to expose

their stickiest situations. Bristol’s Scalping are looking

to exploit the subculture grey areas. In a time where the

most exciting artists are combining dance music with live performance, it was vital that we got in touch. In Halifax, The Orielles are preparing to release their second album ‘Disco Volador’ and we spoke to the whole band about

frisbees, imaginary friends and space. In the first of our

artist series, we talk influences, postcards and more with

songwriter, illustrator and collage artist, Orlando Weeks.

3 Porridge Radio Sweet

21 Scalping Ruptured

8 Disq Daily Routine

25 Hotel Lux Tabloid Newspaper

9 Rosie Alena Mixed Messages

30 The Goa Express The Day

11 Legss Writhing Comedy

33 The Orielles Space Samba

13 The Magic Gang Think

38 Baxter Dury Slumlord

17 PVA Divine Intervention

41 Orlando Weeks So Young: Artist Series

Porridge Radio “You will like me when you meet me” is the assured yet

Yeah in Sam’s village where he grew up, it’s his dad’s

accurate lyric from Porridge Radio’s songwriter, vocalist,

shed which already had a drum kit. Sam already played in

guitarist (and painter) Dana Margolin. We had the pleasure

bands, so he had an 8-track and a bunch of shit. We said

of chatting about their upcoming second album.

let’s record an album because we’ve got so many songs.

We had no idea what the fuck we wanted to sound like. I

Let’s start with the usual stuff, when did you decide

wish I could go back with what I know now. But I guess

you wanted to be in a band and how did you all meet?

that’s the whole point.

I met the right people by coincidence at the same time as

Oh, the joys of finding your sound, did the experience

deciding I wanted to be in a band. I started playing the

help to bond you together quickly?

guitar on my own when I was 18, then I sent demos to Georgie who plays keys and Josh who manages us because

Definitely. We’ve got an unfinished, unreleased

they were two of my good friends at the time. I met Sam

documentary that Josh made during recording. It’s got

and Maddie by chance; Maddie through mutual friends

videos like me watering shrubs in Sam’s mum’s garden.

and Sam through a Facebook post.

I also had the worst haircut ever, a blonde bowl cut. The stupidest mini-documentary, I’ll make sure it gets finished

It formed quite easily then, but is it fair to say it stems

at some point.

from your bedroom songwriting?

If we skip forward a couple of years, you’ve signed to I never thought of myself as a singer-songwriter, but I

Secretly Canadian. Did you find it different recording

guess I am. I had this friend who took me to some open

with a label?

mic nights with him, then I started doing them on my own.

It all sort of happened and I thought okay I guess this is

We started recording the new songs before any label or

what I’m doing now. Although, I did always think this

signing, so we kind of already decided what we wanted it

would be better if it was louder.

to be. But recording and mixing professionally made a big difference, pushing us to be the best we could. I love how

You guys are pretty much the definition of a DIY band.

it turned out, I’m proud of what we did, you can hear how

Your first demos were recorded in a garden-shed right?

much we’ve grown.

3

Words by Phoebe Scott, illustration by Adrian Forrow

The title ‘Every Bad’, is that alluding to a tube

Lots of genres, but a few themes keep it all linked. A

journey? A hair day? An argument?

key one being the beach, what’s your connection to the sea?

I guess it’s open to interpretation. Making this album took a long time with a hundred obstacles, but it doesn’t sound

When writing those songs, I lived in Brighton and

that way. With ‘Every Bad’ there’s a sense of every cloud

whenever I got sad, I would go to the sea. If it wasn’t

has a silver lining. It’s hopeful because it’s unfinished, I

freezing or going to drown me, I’d get in and swim. It’s

wanted to leave space for other people to put their lives

so beautiful, endless and terrifying. For years I’ve used

into it.

it as a place to deal with mental health shit or to have fun with friends or to just try and catch sight of on my way to

The album starts with ‘Born Confused’ with first lyric

work, that kind of thing.

“I’m bored to death let’s argue”. What’s the worst argument you’ve started because you were bored?

Touching on mental health, your vulnerability is another visible theme. Is it important for you to be

A good question, it’s caught me off guard. I wish I could

open in your music?

remember anything that’s happened. I always start stupid arguments when I’m bored, bringing up things which have

I’ve always tried to be honest when I write. I wanted the

been laid to rest and it gets petty and shit. Don’t let me get

band to be a space to be vulnerable. I still struggle with

bored.

being open, but music is the way I feel most comfortable.

I love performing in front of an audience because you can

You jump emotions a lot in the album. The melancholic

portray this version of yourself that makes people stop to

‘Pop Song’ straight into confident ‘Give / Take’, did

question how they feel.

you deliberately try to drag the listener into these moods?

Lastly, if Porridge Radio was a real station what would you play to represent you?

I guess that’s the emotional landscape I’m trying to portray, going from calm to intense and back again. I love

For me, it’s different than if the whole band was sitting

how the track-listing came out in the end, we deliberated

here. Think I’d choose Blink 182 – ‘Dammit’, Caroline

and swapped things so much.

Polachek and ooh I don’t know there’s so many. Cat Power - ‘Rockets’ that’s a great song. I could make a playlist for

These juxtapositions run throughout, some songs sound

days. Maybe Guns N’ Roses too!

so indie-pop then into post-punk and even almost numetal in some parts…

I love that you said this because Sam, the main person I arrange my songs with, listened to a lot of nu-metal growing up and his drumming is really informed by the genre. Last year I mainly listened to a lot of sad women or weird pop music. Meanwhile, Sam’s only listened to intense metal. That’s one of the best things about collaborating with people, everybody is being informed by different genres then when you get together it’s like oh shit how did we end up with this.

5

Porridge Radio

www.aaaaabang.com

Disq After the release of their double A-side ‘Communication/

New single ‘Daily Routine’ opens up the album - what

Parallel’ a few months back, Wisconsin-based rockers

about that track helped you come to that decision?

Disq roll into town with their latest single ‘Daily Routine’ and news of their debut record ‘Collector’ in tow. We

That decision was taken super early and was always gonna

catch up with Raina from the band on a blustery January

be the first song on the record. It wasn’t a hard decision

morning to get an insight into their sound and their plans

to make. Everybody across the board – in the band, at the

for 2020 and beyond.

label – agreed with that decision. Sonically we feel as though it sets the tone for the record, as well as content

So you’re in the UK for a short run of shows at The

wise with the lyrics setting everything up nicely. Plus we

Old Blue Last and The Lexington - are you excited to

always open up with that song live so it just felt right.

get yourselves in front of a British audience?

With the record itself it’s been compiled from a host of Oh super excited. We love the Brits! We have close

differing demos and ideas spread out across time. That

relationships with a lot of Brits and ever since we started

helps it come across as more of a mixtape or a rock ‘n’

people have always said that we would do better in the UK

roll scrapbook...

than we do in America…

Totally it came together organically. That sort of So cats out of the bag, there’s a date set - 6th March -

scrapbook narrative only came together as the album was

‘Collector’ comes out. How does it feel to finally have it

finished, but it somehow just worked and made sense

set in stone and ready to come out into the world?

which is great.

It feels very very good. The album has been in the works

Musically you’re described as an indie-band, but you

for a while. Some of the songs on it me and Isaac started

seem to venture through various sub-genres between

working on probably when I was like a freshman in high

that. Was that a choice of the band as a whole or from

school. We’re really excited to put it out and super happy

certain individuals?

with it. Plus, we really love Saddle Creek so we’re super stoked to have it out with them. They’re wonderful.

I think it’s definitely a collective thing within the band.

We all listen to a lot of different types of music, but

What about Saddle Creek is so wonderful that made

similar between the different members. I don’t think it was

you choose them above other suitors?

necessarily a conscious choice, but it did feel quite natural to have an array of different styles and influences.

I mean wow where to start. Even if now I had my pick of labels, it would be hard for me to pick anyone besides

Lyrically as a band you seem to tackle things head on...

Saddle Creek. We had just done a 7” with them (previous single ‘Communication’) and it was just such a wonderful

Again it does feel like a very natural thing to us - drawing

experience. They’re so great to work with and they’re so

from personal experience. Things might change over time,

kind! It’s just the best label. Not to mention that we love

but yeah the songs are pretty personal. The album is a

so many of their artists.

collection of personal experiences that most of us have gone through.

Words by Matt Bisgrove, illustration by Cépé

8

Rosie Alena You may catch Rosie Alena in familiar company but she’s

Brad booked me for the festival and from there we got

doing something entirely different. Delicate debut single

talking. I already had music recorded, mixed and had

‘Mixed Messages’ (which features members of black midi)

planned to put ‘Mixed Messages’ out independently

has not only showed those paying attention an impressive

anyway. So it was all perfect timing really and releasing

vocal capability, but that the cross genre sounds of London

through Strong Island gave me the boost I needed.

don’t have to be abrasive to be exciting. Ahead of an evening which sees Rosie play two shows in one night for

You’re rising through a world of guitar bands, is this

Independent Venue Week, we sent over some questions to

where you’d place your music or do you have other

add some detail to what we already know.

intentions?

Hi Rosie, how are you doing? What have you been

I mean I guess yes, in the literal sense, my set up at the

doing since you released your single ‘Mixed Messages’?

moment would equate to the ‘guitar band’ definition. But to be honest I’ve never thought of it like that! I think

Hello hello, I’m wonderful thanks. I’ve been doing rather

probably because although the guitar parts in my songs

a lot to be honest! Putting your first single out is pretty

are so important (and of course beautifully played by my

crazy I must say. I had my single launch back in December

lovely guitarists) my voice and songwriting are the main

at Rye Wax, Peckham which was the first headline show

focal point. I don’t think my songs fit only with guitars

I’ve organised myself. There was a lot of work leading

either; I definitely see myself experimenting with other

up to it but it was so worth it. Ended up being super busy

instruments and arrangements in the future.

which was amazing. I had some of my friends playing and DJing on the night - lots of fun! I’ve also been gigging

‘Mixed Messages’ is expansive and alludes to a feeling

more than ever, organising future gigs, planning future

of escape, is this what we can expect from future

releases, writing, recording whilst juggling that with the

releases and is there a certain feeling you’d like to

pressures of being a 3rd year university student... Other

create for your audience?

than that, it was Christmas, New Year and I turned 21!

Like for many other artists, writing is extremely You released the track with Strong Island Records who

therapeutic and helps me release any worries or tension

are based on the South Coast, how did that relationship

I may have. Therefore, it’s only natural that this

come about?

‘feeling of escape’ would be insinuated. I tend to write introspectively but knowing people can relate to my songs

Yes I did indeed! So I was introduced to Brad Sked (label

in one way or another helps to realise the universality of a

manager) via a mutual friend Holly Mullineaux (bassist

feeling I once thought only I felt. Although I do think this

from Goat Girl). At the beginning of last year I asked

feeling is consistent throughout the rest of my songs, they

Holly if she recommended any good festivals for me to

are eclectic in the genre sense. Each song derives from

play that following summer and she told me about this

a different style. For example I was added to the Folk

great not for profit festival called Dials Festival that’s put

Rising playlist on Tidal. And although I would say ‘Mixed

on annually in numerous pubs and venues in Portsmouth.

Messages’ does fit into that category, I wouldn’t say I was

Brad and Strong Island Recordings are heavily involved in

a ‘folk artist’.

the running of Dials.

9

Words by Sam Ford, illustration by Laylah Amarchih

There are few discussions in life where doubling the

Jake: It’s a recent development. We’ve got the music,

letter ‘S’ fails to bring stressed satisfaction. Happiness

Ned’s a great poet so we try and push the spoken word and

is one, badass-necessary but more pressingly, London’ss

incorporate the sound design element.

Legss. This is a band who see the artistic-accessibility in language and roll with it incessantly. “Smooth as a goose’s

Ned: For ages we thought about a fifth member- a

neck” – Louis Grace, 2020.

keyboardist or synth but, Louis got an SPD which means we can keep things traditionally guitar based whilst

**our interview was interrupted by a friendly old lady

incorporating layers.

whom it would be rude not to thank for warming up this Working with Luke Kulukundis (Gong) must’ve given

feature.

you this whole psych influence which kinda feeds Louis: That worked quite well because a lot of our music

‘difficult listening’...

incorporates ‘found-conversations’...

Max: That’s the thing, we’re always trying to challenge Ned: We’ve got a new track called ‘Five Live’. Back home

whilst finding a balance. It’s easy to replicate a sound

in Liverpool, there’s a great bookshop populated only by

we’ve listened to throughout our lives but, that’s in the

old men who come for a chat and don’t buy anything. This

past. You don’t wanna do something that’s rehashed.

old guy was talking about his daily routine so I recorded it, Louis spliced it up and it formed the intro.

11

Words by Al Mills, illustration by Josh Whettingsteel

Legss Ned: It’s not deliberate, just how the songs play out. We’re

Ned’s words are a really important part of our sound, we

in this post-modern state where songs are created out of

completely stand behind them- it’s who we are as a group.

pastiche, the metropolis infects everything you do. We’re trying to ridicule the cliché of modern living but, you’ve

How’s the reception been?

also got to talk about it. We’re not trained musicians so we work within our means.

Louis: It’s been well exciting. Our book launch at The Windmill was sold out and, just having bands we really

Your book ‘Good News Horse’ feeds that too, ironically

appreciate there with us, it gets me excited.

requiring people to sit down and break from today’s chaos. It’s not a second ep, it’s a body of work in its

Ned: We’ve realised our friends can’t dance!

own right that fights the need for instant access...

Jake: We’re looking forward to being challenged and Louis: That was the motive. It’s accessible too, quite

pushed, playing in cities to people who’ve not heard of us

protagonist and close to home for a lot of people but

so we’re not resting on our laurels.

forces you to hone in on the irony and lyrics.

Louis: We’ve got no laurels yet to rest on anyway.

Max: I’m really glad we did it. It justified that we’re definitely a part of a lyrical tendency but trying to stand out as well.

www.joshwhettingsteel.com

12

The Magic Gang As far as returns go, you won’t find one much stronger

Jack: Our mission statement with this one was to try and

of late than that of The Magic Gang. With ‘Think’ - the

be a little bit more honest when it came to the lyrics.

blushing first single taken from their much anticipated

With the first record it felt like we were following pop

second record - Kris, Jack, Paeris and Gus reminded

sensibilities, a lot of the music we listened to was straight

everyone what made everyone fall in love with them,

forward pop from the 60s and 70s, so lyrically everything

timeless pop discernment, breathless harmonic fortitude

led towards that sort of romantic sentiment. Which I

and undeniable charm. While retaining everything that

still absolutely love and there is nothing wrong with

allowed them to establish themselves, their second record

brilliant love songs, however with this album we wanted

possesses such growth in arrangement, musicianship and

to flex another muscle and try and write a little bit more

broadened taste that they sound like a group just relishing

autobiographically - more directly about our own lives and

the opportunity to build on their catalogue.

what we’ve been up to today. In a way I would think that would make it a bit more relatable, cause we are writing

Your first record was a culmination of years of

about stuff that is well and truly on the ground rather than

tinkering and crafting your sound - I imagine this time

more universal sentiments of love.

around it almost felt like a focused creative spurt in comparison?

That’s interesting, because I feel sentimentality is such a core part of what appeals about your music - yet

Jack: Yeah, with the second album you definitely get the

what I’ve also always engaged with as well is its laconic

feeling that you are writing something, that you go away

directness. Is it important for you to be able to find

to write an album. So compared to the first one, where you

a balance of wearing your heart on your sleeve and

just spend a few years being in a band with your mates

allowing the listener to have their own interpretation?

and you record the best songs you have, this definitely felt like it was time to go away and write, see what we could

Jack: You’ve always got to be really wary of that,

come up with. So it feels like more of a concise project

because some of the best lyrics in the world are the ones

just in that sense. It’s really nice to be able to catalogue

that remain open to some extent and can be interpreted,

a piece of work like that, it makes it easier to understand

and I think the biggest mistake you can make is telling

the album when you are in one headspace while you are

people what your lyrics are about too much. I think there

writing it.

is a beauty to writing a line or a sentence that can be interpreted in many different ways.

Was there anything in particular that you set out to achieve with the new record, both musically and as a

Kris: Even though the first album was quite direct

group?

lyrically and quite tangible - in hindsight it also does have an air of vagueness to it. But with this one, lyrically it’s

Kris: I would say we wanted to do something different

specifically about certain things, what those things are

from the first album, I think we tried to make it more

aren’t just about relationships with people. I think what

concise, I think we wanted to try and be quite disciplined

we’ve done with this one is a lot more atmospheric and

with the length of the record, just making sure it was still

it’s not as obvious what everything is about, but I think

quite lean in a way. I think we’ve achieved that.

that’s in a good way. There is an opportunity to consider the lyrics a bit more and realise it’s not just a love song.

13

Words by Ross Jones, illustration by Mariana Malhão

Do you feel it’s important for acts to make grand

It’s about trying to make what’s best for the song.

statements in the way they change their sound from album to album or project to project?

Jack: With the horns, a part of me was thinking “God why didn’t we put this sort of arrangement on the first record”

Kris: The thing with that is you can’t be massively in

or “why haven’t we tried this before?” but then another

control of what people will think about it in that way, so

part of me is thankful we haven’t because It’s nice to use

you have to express it in a way that makes sense to you.

something that you haven’t overused until now. It was one

There’s a lot of areas on this album that are a lot more

of those things where you want to show your development,

self-aware than what we’ve done before, and that’s quite

your experimentation, but you don’t want to go off the

exciting. I think a lot of people might be surprised by

rails with what it is that you like about being in a band and

some of the feelings or sentiments, and it’s something that

what you do.

we’ve arrived at organically over a few years.

I’ve always felt your music possesses this timeless Jack: I think there’s a danger in people trying to

authenticity - no doubt from your knack at writing not

drastically change their sound - I think you have to remain

only melodically but empathetically also. Where do you

anchored in what it was that made people like what you’ve

feel your music stands in the hyper rushed nature of

done before, or what you liked about it, recognise it and

modern life?

keep that sensibility. However, I do also think that if I listen to someone’s second album, I expect it to be a step

Kris: I think, for me personally, I have to try not to think

up or to have developed in some way. So I think there is

about stuff like that because it’s insane, it makes you feel

an important balance between keeping the essence of what

paralysed when you want to make music. I really hope we

makes the band good, or what made the last album special

have our own lane so that we’re not comparing ourselves

but then not repeating yourself for the sake of retaining

directly to someone else. I feel like the more you let

that or to get the same response again.

outside influences inside the process, I’ve never often found that that’s been conducive to making good music,

‘Think’ is a fantastic statement of a first single - a

dwelling on that can be a big hindrance to people making

notable change that still possesses the famous Magic

their own music.

Gang melody so to speak - it’s quite immediate isn’t it?

Jack: I think it’s really important to have some sense of Kris: It’s probably quite immediate cause it was written

humanity and positivity in anything you are going to put

quite quickly, so I imagine it feels instinctive. It is typical

out. Even on a very basic level, the fact there is positivity

in the sense of it has a big chorus, it’s just with this song

in what we’re doing, that’s quite important to us. It’s not

it’s a lot darker in places. It digs a lot deeper into our

something we talk about a lot, but I think underneath the

influences and it’s a bit more minor, the verses are a

surface that is there. We do feel proud and happy, there

bit moodier, and it was quite exciting to hear ourselves

is a positive message to the music. We do feel over the

actually conveying a tangible mood in a song.

moon that people come to our shows to dance, to have a good time and to meet future best friends. It’s the kind of

With the instrumentation as well, the brass involved

thing where when you are touring for a long time - you

feels like something we weren’t expecting but now

don’t take it for granted but you forget that it’s there -

can’t be without - did it just feel right to broaden your

the minute you stop doing it and you have a moment to

sound in this way?

reflect like we have done for the past year, then you feel incredibly proud that that’s what people do at your shows.

Kris: Again I personally love really grandiose music, so

I don’t know how that falls in line with the rest of the

to have the opportunity to have horns on the record was

world, but the fact this little thing that we’re brewing is

really exciting for me. There are some strings on there too,

being construed as positive is important to us.

some quartet stuff, some more keyboards.

15

The Magic Gang

I’ve found that even in my darkest times with my mental health, I’ve always found a bit of escapism in going out and just dancing

PVA have stuck out like an exotic blast of energy on

You mentioned the urge to do something different - do

London’s DIY scene with their elegant, danceable live

you think that’s why it’s struck more of a chord?

performances. This isn’t easily done with their immediate peers creating equally convincing (though dramatically

We never necessarily set out to make something different

different) music - with names like Squid, Black Country

- we wanted to make something that we really enjoyed

New Road and Lazarus Kane all sharing similar stages at

and people responded to. It’s basically about taking our

present.

inspiration points from different genres and building on that. We take inspiration from some guitar music - like

It’s somewhat fitting then that as we dial vocalist Ella

Josh and Louis were really into psych-rock and strains

Harris - she picks up from The Old Blue Last at a show

of guitar music - so I guess it’s about building on those

with fellow Speedy Wunderground debutants Tiña. She

and moving forward, then creating something new and

fights her way through blaring Abba music to find a quiet

different.

space outside before we’ve got a clear enough line to get stuck into conversation. With a massive buzz and little

I’m seeing that with a lot of acts at the moment and I

recorded material available - there’s no shortage of things

think the idea of genre boundaries are being expanded.

to talk about.

People are taking elements of different stuff and building on that. Like Scalping, Working Men’s Club, Squid,

Tell us a bit about the original vision for PVA?

Black Country, everyone seems to be taking this idea of guitar music or electronic music and then adding bits,

It started as quite a bedroom project for me and Josh. We

taking bits away and then creating something new. It’s

wanted to play some music together - we’d met a couple

a new experimental, dancey, post-punk scene, it’s really

of times before and we had the same taste and ideas. We

interesting and really exciting to be a part of.

wanted to make something a bit more party-electronic based. Josh and Louis both had played in a psych-rock

I guess the common denominator there is a sense of

band before and I’d played in a slower folky band. So we

conviction in the output. How conscious were you of

all had an urge to make something different - Josh made

getting your first single perfect?

some demos and I listened to them and was blown away.

We started from there and didn’t think anyone would

We’d been trying for a long time to get something out

respond to it - then it got to the point where we were

but every single time we got a mix of a track it wasn’t

starting to get some bigger shows so we got Louis on

quite there. They all sounded very good but it just didn’t

board. Then the last year and a half has been spent crafting

capture the energy of the live show. We were getting

this set and getting it to where it is now.

these amazing responses to the live show but then it felt a bit flat on track. It didn’t have that energy and the visceral emotion on the track. We were really starting to experiment with live drums and were starting to write new songs - then Dan Carey came along and offered this way of recording which meant we could take this summer of refining and reworking songs and capture that onto a recording. It felt like the perfect time really.

Photo by Holly Whitaker

He discovers bands in quite a raw capacity just by

Obviously Speedy Wunderground demand efficiency in

going out to shows and approaching bands - was that

the studio - do you feel like that brought out the best

the case for you?

in you?

Yes, Dan saw us at the Bunker actually - Lottie from

Yes - I think recording with Dan is a really interesting

Goat Girl puts on these nights there every month so Dan

experience but I also find it quite terrifying at the same

saw us there as a two-piece a while back. Then over the

time as well. We did three takes with lasers and smoke

summer we got busier and started playing all of these

machines as well, it was really intense but it really

festivals - then he came to watch us at Green Man on the

captured an energy.

recommendation of Ollie from Squid actually. So he said he really liked us and we just got on with him, we seemed

When you play a song live in front of an audience you’ve

to share key ideas about electronic and dance music. It

only got one take really - you’re playing it and you’re

was the idea of experience over perfection in recording,

playing it to the best of your ability, so it’s nice to have

more about capturing emotion on tracks rather than

that pressure when you record. Your putting in energy,

making these high-projection tracks. So we spoke to him

passion and really delivering the vocals in the way you

for a bit and then he said he wanted to get us in the studio.

intend for someone to hear them. It was a really fun

Once we met him properly it was about a month or two

process and I think it was the most appropriate for us

turnaround before the single was recorded.

being such a live band.

19

Words by Rhys Buchanan, illustration by Josh Whettingsteel

You’re in such a healthy sphere of bands right now -

It sounds stupid but we’re just going to keep making

were you ever concerned about it being saturated?

music that we’re really happy with because that’s why we got to this point. That’s all we can do now in response.

I feel like we’re really fortunate to be surrounded by so

We’ve got a brilliant management team behind us as well

many amazing musicians. I feel like I’m constantly being

which has really helped - that means we can just focus on

inspired because of the amount of incredible music in

the music. We’ve just been rehearsing loads now. We’ve

London, Bristol, Manchester, Brighton and beyond. I’m

been making the best set possible for 2020.

seeing so many innovative young musicians just making something new and forging a new future for music. I never

I guess you have a natural support network of bands

feel like there’s a saturation because everything is so fresh

as well?

and so new and so exciting to watch. I feel like we’re all bouncing off of each other a bit. We always go and see

One of the best things about this is I’ll meet a band

people as a band and are so excited to get back into the

that I adore and then we become friends because we all

studio and write. After festivals especially we all want to

have similar tastes and interests. It’s been such a lovely

get back and get stuff down on paper.

experience. It’s also nice because you see your friends doing well, it’s a real moment of pride when a friend’s

Even though ‘Divine Intervention’ is very accessible

band is doing well. It feels like such a supportive scene at

musically - there’s darkness in there - is that from an

the moment. There’s no competitiveness at all - it’s just

internal place?

this aura of everyone supporting everyone. I love it at the moment, everyone just cuddles each other and is super

Yeah definitely. ‘Divine Intervention’ is very much an ode

supportive. 2020 is the year where everyone looks out for

to falling in love with living again. It’s about experiencing

each other, talking about their feelings, we’re nearly at

life again because there have been points in my life

world war three, there’s no room for negativity.

where I’ve been very lost in the past. I’ve been stuck in a moment or a memory that I can’t get out of. This song is

Lastly, what are your expectations for this project? Is

about an external force pulling you out of that and getting

there a focus on momentum?

out. I wouldn’t ever want to sing that song to a slow melancholic melody because I don’t think that would be

We’ve just been trying to see the next year as an exciting

an appropriate way of presenting those lyrics. I think those

position that we could be in. It’s all about small little

lyrics are about the idea of recovering and healing so the

goals, we’re going to release two more singles before

most appropriate way of putting that across are with this

summer and so that’s a big focus at the moment, we

upbeat uptempo song. I’ve found that even in my darkest

want them to be the best possible follow-ups to ‘Divine

times with my mental health, I’ve always found a bit of

Intervention’. Then we want to craft a set we can really

escapism in going out and just dancing. You get lost in

be proud of. We’re living in the moment and don’t want

the music and we’ve all had our best experiences to dance

to be living in the future too much. We don’t want to be

music and forgetting about everything. Except for the

so driven on trying to get further and further, we want to

Abba at The Old Blue Last - that’s not a vibe at all.

enjoy ourselves while we’re here.

You’ve been thrown into a bit of limelight - there’s a lot of talk about the band at the moment. How does that feel?

It’s weird. The single came out just before Christmas and we thought it did really well. Then it’s just gone crazy, we’ve had a brilliant response. We’ve just gone back into ourselves and said how do we deal with this?

www.joshwhettingsteel.com

20

ng Scalping, on immediate introduction, are one of the most

but that is the most unexplored portion of music at the

visceral and uncompromising live acts you will see today.

moment. They are these two very different subcultures that

Yet as you spend more time with this group, the intrinsic

exist, where the space in the middle hasn’t been explored

detail and unwavering creativity they feed into this

that much. It’s making sure we can constantly push it and

multi-faceted project leads you into a wormhole of trance-

pull it and drag it between these two worlds and go “well

inducing engrossment. James, Alex, Isaac, Jamie and

that’s Scalping”.

Jason introduce us to pure, unquestionable escapism.

Isaac: I think it’s the presentation as well, the extremity of Have you been able to comprehend not only being

it that comes across in a live performance and the energy,

able to finally release music to an audience but also

because that is a timeless thing. Having a new face for

acknowledge the acclaim and anticipation for you that

that energy to wear plays a really big part. One of the

has stemmed from doing so?

most relevant things in terms of the timing of it is the visual aspect - because it’s at a point where technology

James R: This is the first time I’ve ever made music

is growing and we’re privileged that we’ve got Jason on

knowing people might actually listen to it. I think for us

board who’s constantly at the front of this growing beast.

the primary thing is it’s been hilarious, because it’s only ever been an extension of us being massive nerds, trying

The visuals certainly are a pivotal core of the project’s

to make something that we’ve always longed for that

identity, were they a necessity to employ from the

hasn’t existed. So it’s just funny, just seeing people react

beginning?

to it, it’s very surprising.

Jason B: My perspective would be, most bands have a So with that in mind it’s perhaps strange to consider,

front person, this band doesn’t have a singer, or anybody

but is it the right time for this sort of music?

good looking. So it needs a focus point on-stage, and I feel like without a singer the visuals can take that on.

Alex: This is the thing, we’ve been in much more commercial sounding bands like this in the past, that’ve

A: I think it comes back to not wanting to be defined, if

seen absolutely no success whatsoever.

we were standing there playing our songs we’d just be a rock band that sounds a bit dancey. Having the visuals has

JR: I think it is the right time, because I think there is still a massive portion of music that hasn’t been made by heavily combining electronics and live instrumentation.

Obviously there’s loads of people that have done it,

people asking “what are they doing?”.

It adds to the allure doesn’t it?

With more time and understanding it really becomes a meticulous and considered piece. That surprising

JR: Having that place where you can find actual escapism

subtlety is obviously something that you desired to

instead of this facade of getting involved in lyrics and

find?

messages. I don’t make music to exist in the real world, I make music to get away from shit. I want this to be the

I: You need the comparison of extremes don’t you?

all-enveloping sensation.

Something only sounds as heavy as it does when you’ve got the subtlety to compare it to. It’s all about the way it

Obviously first and foremost, this is a colossally loud,

builds and develops, and if we can convey that then that’s

uncompromising project - does that represent a very

the sweet spot.

physical sense of expression for you?

J: Part of the limitation that comes with working with live I: I think the physicality of it is a by-product of how the

instruments means that we have sections and songs, that’s

music we’ve made makes us feel, live it naturally projects

why it sounds like that - it’s not as improvised because

itself in a certain way. All music is inherently expressive,

we’re not from that background and also because there’s

our music is heavy and loud so that gives it the physical

four of us. You don’t see something like Giant Swan in a

aspect.

band and everyones got a table of electronics - it’s not like that, we have to be able to respond with each other.

JR: Also we’ve arranged this set and the way we play it to accomodate for the fact that we don’t actually always get

As the project develops and you learn more about what

to play loud enough. We’d be much better if we had the

this project will become, what would you like people to

guarantee of that volume and be able to play much more

take from it?

intricately, for much longer and be more psychedelic, but because the way it’s written and arranged, the whole

J: It’s not like it’s a massive, complicated message that

thing is very intentionally made loud. Actually what we

we’re trying to convey and the only reason why we even

think we’d much rather be doing is be much more intricate

think like this is from experiencing so many amazing

with everything, but the problem is we don’t have that

Bristol line-ups, like Howling Owl and Young Echo. It’s

guarantee every time at all.

breaking down those boundaries of when you go on a night out, why aren’t there bands playing dance music

A: But in terms of it being an expression, we’re all very

and why aren’t there DJs playing bands, why aren’t we all

nice, calm people - none of us are angry, so I don’t know

doing parties together, why isn’t it on big sound systems

if it’s an outlet for that, I don’t really believe in that.

and why isn’t it really fucking loud?

Words by Ross Jones, design by Josh Whettingsteel, photos by Mariana Sabio

2 0 2 0

HOTEL LUX Hotel Lux are a gang born out of today’s strange times and

How’ve you found the process generally?

of whom are set to command the new decade with mindful impress. Working between the pantomimed lines of entity,

Very long. The initial recording session we did was over a

mundane and seamless satire, their debut EP ‘Barstool

year ago. Our songs tend to come in pairs so we’ve been

Preaching’ (via Nice Swan Records) projects confidently

playing them for ages. It feels really weird that when the

restless on societally luxated limbs and, acts as a soon

EP comes out, they’ll be viewed as new songs…they’re

to be discovered motive for all of us crafting our way

old to us. We’ve got 16 days straight for our first tour

through routinely lyricised living.

which sounds like an incredible opportunity for things to go wrong but I’m excited. We sent out the offers for

Calling-out on expectations, we spoke with frontman

support, part of the process of picking was just inviting

Lewis Duffin on what it takes to just simply make things

the bands we love.

work. Prop yourself up and embrace the direct- it’s not all In the track ‘Charades’ you wrote the line “Sometimes

gone to total shit yet.

I forget the people I meet, are not the people for Lewis: I’ve been reading a lot of new journalism, it links

me”- you’re thrown into these situations where you’re

to my dissertation. A lot of Lester Bangs.

actively meeting a lot of people. It all sorta becomes this great performance within a performance...

There’s a great quote by (him) where he speaks of “penetration, breaking through to the other side”- not

The music industry is that. Maybe that sounds a bit

being afraid to ask a lot of why’s. It reminded me of the

grandeurs... meeting people in bands can be like that.

approach Hotel Lux has to their songwriting, you’re not afraid to call out and question.

Right! And there’s this real pressure to constantly be switched on, being actively involved and going out and

Yeah, definitely. In ‘Tabloid (Newspaper)’ lyrically, it’s

interacting too...

almost a criticism of my writing process. An essence of self-awareness is important in any sense- it’s more a dig at myself than taking the piss of anyone else. It’s funny, people took it as a real important take on tabloid newspapers when it wasn’t at all.

25

Words by Al Mills, illustration by Daisy Link

Peaky Blinders...

Yeah completely. Weighing it up, 16 days on tour. Does that mean 16 days of drinking straight? No it shouldn’t be but at the same time, it’s so hard not to. When bands

Peaky Blinders...

get bigger and start touring more frequently, you get used to it. I’ve never played a show where I haven’t had a

Were you a fan of the show before they used ‘The Last

beer beforehand and that’s so bad. There’s this ‘Rockstar

Hangman’?

stereotype’ of drugs and rock n roll but I think we’re better than that in the 21st century.

Yeah! It was nice in that way, when the episode came out I’d been keeping up with it anyway- it was so weird,

There’s a vulnerability in presenting yourself out there.

properly watching it and then suddenly hearing my stupid

You’ve got this love, you spend so much time working

voice like ‘what the fuck was going on’.

on the EP and then suddenly you’ve got 16 days to throw that out into the world...

It was a super intense scene too! Completely hectic...

It’s certainly a nerve-wracking thing. I can’t imagine

It’s such a great scene! I was so glad. And, I’d told

when you watch a movie most of those actors are drunk

my whole family so I was so worried we’d only get 10

or whatever. It’s weird that music is the only platform

seconds of instrumental. When we got a minute and a

where that’s still the norm. I genuinely love touring and

half it was like “Thank god”. There’s few things that

whenever I see a band touring I look through it and get

validate the band to my family but that was one. My mum

jealous of where they’re going and venues they’re doing.

genuinely has it recorded at the point. The Last Hangman

But what’s the point if it’s not fun.

streams went from 100,000 to almost 700,000 in that time frame- those things inspire and push you to keep wanting

The rise for bands seems to be happening more rapidly

to do it all.

these days...

I think guitar bands haven’t been great for a while now but more recently, there have been some really good guitar bands- just look at someone like Fontaines D.C. Which is hopeful when you look at how you’re hopefully heading off to SXSW this year. Bringing London guitar bands to the States must be a whole other ball game…

They actually do a Windmill stage there now! I remember when I first came to London, The Windmill was this ridiculously mysterious place but that shows you how it’s become.

27

Hotel Lux

The Goa Express The Goa Express have been the North’s best kept secret

James: Our friends Wayne & Libby had a shop on Standish

for quite some time. All five of them have fed in to the

Street near college and we used to go there on our breaks

venues and watering holes that soak up Manchester,

and look through records, mess about on some guitars

from lock-ins at the Rose & Monkey to flat parties in

upstairs… I guess seeing and hearing the same things have

Fallowfield - everyone in the area knows exactly who

put us pretty much on the same level, we all have similar

they are. Locals speak of them with fondness and a certain

outlooks.

glint in the eye, like there’s a story to be told and trouble to be made. When they played the upstairs room of a bar

You’ve been around for a good few years, I remember

in the Northern Quarter in December, friends, family and

your earlier stuff like ‘Waka’s Eyes’. How come you

freaks were out in force, leaving the major label A&Rs

chose to take down all the previous music and re-start

who had turned up, dithering on the outskirts. The energy

with ‘The Day’?

was nervy, youthful and exciting, loose enough to not know which way it could turn. Now the rest of the UK are

James: Them tracks were done a while ago. We still play

switching on.

‘Waka’s Eyes’ live - we’d like to take that back into the studio and rework it.

Their single, ‘The Day’, is an urgent call to arms that sounds something like The Gun Club covering

Naham: I think we’re always constantly writing stuff and

Spiritualized. Tongues and tails are wagging in its midst

then coming back to it and changing it. When you release

and yet none of it phases them; they keep their cards close

something, the final product is there, you can’t go back

to their chest and never talk too much about prospects,

and add or remove things. If you ask people who come

not even the Lamacq session they just did at Abbey Road

to the gigs, we’ll play a new song and then never play it

or the huge string of festival announcements already

again. It’s just the process of how it is for us, I guess. But

lined up for this year. The comfort is in the camaraderie

saying that, ‘Waka’s Eye’s’ has been the only tune in the

and they’re far more at ease discussing the ridiculous

set since day one, we’ll probably go back and record that

situations they consistently seem to find themselves in

again.

like the time guitarist Joey dressed up as a life-sized bag of ketamine or when frontman James got smacked by four

You’ve mentioned previously that some of your

different people in the space of one evening. All aboard

music is about fakeness in society - or to put it more

The Goa Express. It’s quite the ride.

succinctly, ‘lick-arses’.

How did being brought up in Burnley and Todmorden

James: Our new track, ‘Be My Friend’, will be out soon.

shape the band?

I don’t know how prevalent they are, but they inspired the theme of that song. Maybe certain people are just

Naham: In Burnley there’s a lack of creative spaces,

irritating.

especially venues, so we tried putting on our own shows in mate’s garages and above shops. The Golden Lion in Todmorden was putting out decent stuff when we were like 16/17, so we all used to go there quite a bit. Waka and Gig treat us really well there.

Words by Harley Cassidy, illustration by Josh Scurville

30

Would you say you’re primarily influenced by 60s

What can you tell me about the track?

counterculture?

Naham: First person who heard it was our Uber driver James: It was the first sort of era we all got into. From

today and he fucking loved it.

then on we’ve always had some sort of admiration for James: True - we tipped for the first time. He was lovely.

what went on then.

Naham: It should hopefully be released in the next few

Naham: I remember in college, early days of the band, me

months. It was done in Sheffield with a guy called Ross

and James used to listen to loads of that stuff: 60s garage

Orton who was mega, we had such a good experience

nuggets and a lot of Haight-Ashbury era bands.

recording with him.

What’s the stickiest situation you’ve gotten yourselves I feel like your live show really represents the character

in?

of the band. Do you feel like that’s where you’re in your element?

James: Oh fuck…

Naham: Yeah, I think it captures the band as a whole

Naham: I’m not sure I even want to answer that… This

so well…the energy you get off of each other. There’s

one’s not that bad but I remember when Clarkey locked

nothing better than being in the studio with your best

himself in a toilet before our show at Neighbourhood.

mates writing and coming up with stuff then finally

There’s a video of a bouncer just booting the door down

incorporating that into a live gig. It’s the same the other

and then running off. He was in there for a good fifteen

way round too, when we’re in the rehearsal studio it’s the

minutes. Big ‘Out Of Order’ sign on the door after.

same energy as a live show, we’ve had some fun times just What musicians have inspired you to the point of no

by ourselves in the studio, the same as any live gig.

return?

James, I understand you write poetry and have contributed some to Gulp zine?

James: We had a night a few years ago seeing The Brian Jonestown Massacre. I think we were still at college and

James: I know Tom, who runs the zine and thought it was

didn’t make it back until the morning bus came. We’ve

a good idea. It was nice to contribute to it - I’ve been

been doing stuff ever since.

writing songs and lyrics for longer than just writing. It’s pretty much the same thing, sometimes it just sounds catchy and needs to be made in to a tune.

What writers would you say interest you most? I imagine you like the renegades like Tom Wolfe or Hunter S Thompson?

James: Yeah, I just read ‘The Right Stuff’, it was cool.

That era’s cool. I got this British poetry book called ‘Children Of Albion’, which is mint. Lester Bangs is good, too.

31

The Goa Express

The Orielles The Orielles have always had a way with mood. From

Sidonie: When we were going backwards and forwards

soothing psych jam ‘Freaks’ - found on their debut 2016

with the artists for the sleeve, the idea that we initially

EP- to the heady euphoria of ‘Silver Dollar Moment’s ‘Let

gave them was designing it as if it was a futuristic vision

your dog tooth grow’, as a band they know how to create

of 2019 in the 70s.

atmospheres and sonic landscapes that mirror the gripping narrative of a film. It’s only natural then that their latest

Henry: Like how Back to the Future was set in 2019

album would be heavily influenced by cinema’s strong visual and narrative drive. Taking inspiration from 70’s

Speaking of films, you’ve always spoken about how

film soundtracks and horror B movies, Disco Volador,

influenced you are by them as a medium? Is it the

sees the band explore 21st century existential dread via

visual aspect that inspires your music, as if writing

a roaming space odyssey through funk, disco and acid

the tunes makes you realise how the videos and album

house. We chatted to them during a rehearsal for their

cover will look?

latest Marc Riley session to understand how the two concepts came together.

Esmé: I think it’s less about the visuals and more about the narrative structure of a film, we often tie that narrative

You could definitely call ‘Disco Volador’ a concept

structure to our songs. The visuals come after but when

album, was this idea fully formed before you went into

we’re writing we’re thinking of it like a film score.

the studio?

Henry: We’re definitely way more influenced by film Esmé: We always write to a theme or a narrative, with

scores with this album, it has a lot of scenic musical

this one of the original concepts that we had was space to

moments in it. In one of the tunes we followed the plot

boogie or boogie to space, so we were originally going to

of Home Alone 2, the highs and lows of Macaulay Culkin

have half of the tracks as atmospheric, floating in space

and bringing the listener through that.

and the other half as dancing in space.

33

Words by Eleanor Philpot, illustration by Valat Ampavat

What made you want to work with Marta Salogni

Esmee: I feel like with the escapism thing that’s more of a

again?

political way of us dealing with things. It’s not necessarily about avoidance but channeling things in a positive way.

Henry: It was picking it up where we’d left off on our first album (which Salogni also produced) which really helps

What does the title ‘Disco Volador’ mean to all of you?

with the creative side; you know what works between everyone while you’re in the studio. And Marta’s style was

Henry: Our Spanish photographer told us it means flying

really in keeping with the style we wanted to make with

disc, which can mean like UFO or frisbee. Es, didn’t you

this one. There are loads of elements of Marta’s listening

get the name of the title when you caught a frisbee and

library which made its way into the record which is what

flicked it over?

you want from a producer.

Esmé: Someone just threw me a frisbee and on the back She also filled us full of essential dread, we’d go down

it said ‘Disco Volador.’ I got that in my house now, the

and be like ‘we’re not focusing on this take’, and then

original Disco Volador

Marta or our sound engineer would get up a really horrible story from the news, like to do with global warming or

Henry: You should put that on Ebay. Who threw the

something and that existential dread would let us play

Frisbee Es?

with angst.

Esmé: Lizzie Esmé: We wrote a song halfway though that was called,’We’re all excited for our existential crisis’ but that

Sidonie: Lizzie is Esmé’s imaginary alien friend

didn’t make the cut, there were lots of anxieties about the future and stuff in the studio.

So it really has that space theme through and through...

Henry: There was a Lunar eclipse on the first day we

Henry: Could you actually put us in touch with someone

started recording as well that was weird.

who can shoot our record into space physically? Just put it on the bottom and leave our email, as that’s our goal, we

Esmé: There were so many significant space things going

want it in outer space by the end of 2020. Or you could

on while we were recording and we weren’t sure if we

make like a mock advert at the end of this interview that

were just noticing them all because that’s what we were

reads like ‘Orielles seek astronaut’ that would be good.

writing about or if there was something else going on.

There was the anniversary of a landing when we were there and we played at Blue dot festival one of the days too, which is held at the Jordell Bank Observatory.

Is it important to create a world that your fans can escape to?

Henry: I think that’s very important, that’s what we always aimed to be as band, a purer form of escapism rather than directly address issues half arsedly and not really saying much.

35

The Orielles

BAXTER DURY

Baxter Dury, prince of the sleazy vignette, describes his

getting over that and being in a place where you can then

new album ‘The Night Chancers’, as ‘told through the

invite a whole load of new trouble.

eyes of an ageing hip-hop mogul, looking back on his life in chapters’. Whilst his tongue is clearly in his cheek

Reading your press release, it says you’re trying to

as he quips (the record remains an incredibly personal

push your work towards an almost more ‘directorial’

one, using character not as a form of invention, but rather

point, moving away from the pure confessional tone

a device through which to freely document his own

some of your previous work affects. Could you tell me

progression) one cannot help but see some level of truth

a little bit about some of the wider inspirations, themes

in the assertion – assuming of course that is in some way

and characters that went into the album?

how Baxter views himself.

So the album is a reflection; got over the heartbreak, done ‘The Night Chancers’, a ten-song exploration into the

the tour, dealing with coming home to a lot of unresolved

midnight hours of human nature, skirts the borderlines

adventures. When you’re touring, you’re trapped in a

between youth and maturity, brevity and darkness, the

cycle, and then it’s very much back down to earth, and

pantomime and the real. It is a remarkable thing to find a

have to come to terms with being a slightly strange singer

man, almost two decades into his artistic career, remaining

character. It’s all very positive, in that I’m looking for

so unflinchingly committed to documenting original

problems, rather than being confronted by actual ones. In

workings of his mind, whilst making a conscious effort

terms of characters, as something I’ve always done, I find

not to fall back onto the manners and tropes affected on

a way of laundering a voice through another character,

his previous works. This commitment to evolution, the

which gives you a bit of freedom to say something you

unwillingness to simply trot out another ‘Prince of Tears’,

otherwise maybe wouldn’t be able to. They’re not that

is characteristic of each of his releases, and we as listeners

far away from who I am, it’s all quite innocent! Take

are rewarded instead with a uniquely brilliant album,

the character of the ‘Slumlord’- that

posed almost as the sequel to the subject of Prince.

character does exist, but it’s an almost impressionist,

We caught up with Baxter midway through his album

abstract take on this person,

release campaign (‘I’m living the bullshit!’), for a chat

responding to that person and

about the album, Stanley Kubrick, and whether his

how they make me feel.

younger self would be happy with where he’s ended up.

‘Baxter loves you!’, indeed.

Listening to the album, there’s some change in the sort of lyrical content and musical tone. What’s changed in your life that you think may have caused these changes?

The shift is mainly because I feel you get creatively choked if you don’t try and do that. And then there’s this style of talking over music that gets quite exhausting, and a lot of people are doing it especially in the indie world. That’s not to say I don’t have the right to do it, but the shift is maybe me being slightly delusionally urban.

Because I am very much that, so I was just trying to release that, find a different energy. The album before this was about a set of events, and almost cliché heartbreak scenario, and this album is almost post-that,

Words by Dan Pare, illustration by Josh Whettingsteel

I remember around the time your last album came out,

It can be loose, but it has to have some connection to what

as I’m sure it has through your entire career, every

I’m trying to say. I think everyone else rhymes too much,

piece written about you fixated to some extent on

and as soon as I try to be like someone else, it just doesn’t

this idea of you ‘finally stepping out of your fathers’

work. The stream of consciousness is the only thing I’m

shadow’ or something to that extent. Is that something

100% capable of, 24 hours a day!

you ever grapple with? Or do you think the issue was put to bed ages ago, and everyone should just move on?

Your 2018 B.E.D project was a brilliant gap between albums. Is that project one we can expect to see revived for future releases?

I don’t think I ‘grapple’ with it, other people ‘grapple’ with it. I think it’s just something that does exist, you can’t remove people’s views. For a young magazine like

I don’t know if I’d do it in the same group – it was a little

yours, the people reading it are less likely to be interested

bit tough to work, especially with the release of it. When

in my dad because they didn’t really know him. But if

things are just working without any pressure, as it was

you get a crusty old journalist, that’s how they see it. I’ve

when we formed the idea for the group, it can become a

learnt to ignore it mostly, but it’s when all the questions

bit tricky when there is that sudden pressure to release

are about him that it gets annoying. Especially when it

something to a schedule. I was just in Paris for a month,

dilutes your own progress. People want me to be like him,

and it happened without any consideration. So I doubt

but then don’t like it if I’m too like him. People can just

there’ll be more, but I’m sure there will be other projects

positively compare us, as both are really good!

of similar vein.

Listening to this album, the attention to detail in

You’ve got a massive UK tour kicking off in April,

a particular scene- whether a dripping tap or a

followed by some European dates. How important is

particular set of dry lips, made me feel like I was living

playing live to the way your music is experienced?

out someone else’s lucid dream, it was absurdly real – is this a feeling you’ve actively tried to create?

I think it’s important generally, it’s where people come and want to understand you. It’s hard to make these songs

Good. It’s all visceral, I’m trying to conjure up something

work live, and takes us a while to get good. But once

that makes you feel dirty. I also see it like Stanley

you’re on a roll it’s brilliant- the last tour, songs like

Kubrick, he navigates that uneasy territory, where his

‘Miami’ only really came alive when we played them live.

films are really beautiful, but also quite off-putting and

It’s a tough slog getting match fit again, but once you are

awkward. Its all about the contradictions, it’s filmic what

it’s very enjoyable.

I want to explore. I have no idea about world politics, I’m more interested on the micro scale, people’s personal

If you had any words of wisdom to impart to a young

frailties as well as my own.

Baxter Dury, what would they be?

Your style of delivery is fairly stream-of-consciousness

Don’t bother! In all seriousness though, without

inspired. Do you have a process for writing in this

everything that has happened, would I be where I am, who

fashion? I can imagine cutting it all down to be an

I am? Do I enjoy where I am? I think so, so I think things

absolute nightmare.

have been pretty good! I think artistically this music will always have a sort of artistic cap on it, because it’s never

Sometimes it’s just lazy. The music is more of a

going to be played on Radio One. But equally, I’m with

considered process, then lyrically I just open a valve and

the people I’m meant to be with, if that makes sense, so

try not to edit it too much. I find it sits better when it’s

I’d just give myself a hug and tell myself it was all going

raw and unedited, and when you try and construct song

to be alright! I’m not sure whether the older or younger

sentences it becomes awkward. The dangerous thing is

me would be more reassured by that though… It’s all quite

that you can go easily into just nonsense territory.

Kubrick.

39

Baxter Dury

People want me to be like him, but then don’t like it if I’m too like him.

Can you remember the first piece of visual art that had an impact on you?

My grandmother painted and I remember her sitting me down and teaching me about how to keep the point on a soft brush. She was big on brush maintenance. She taught me how to blow smoke rings and how not to fuck up paint brushes. I remember her paintings of bowls of fruit dotted around the house.

The So Young Artist Series is a new project we’re

What’s the story behind the collage you’ve used for our

launching in which we’ll collaborate with some of

collaboration? Where did you find the original images?

our favourite artists and designers on one-off items of clothing. Our first edition really encapsulates what we’re

I started doing postcard collages on the last Maccabees

all about at So Young, the combinations and crossovers

tour. No one buys or sends postcards any more. They were

of music and visual art in all their forms. Our first artist

the original Instagram post. A shiny, picture perfect image

is Orlando Weeks, songwriter, illustrator and collage

of your holiday. Two cocktail glasses clinking in front of

artist. We’re honoured to have Orlando on board for our

the dream sunset ... best life stuff. I liked the idea of doing

first item and so we caught up with him to talk about his

something with these increasingly discarded objects. The

creative process.

postcards on the T-shirt are from a holiday to Sicily and the Aeolian Islands. On my holiday I didn’t see a single

What are the main differences for you between

eruption but you wouldn’t know that from the postcards

working on an illustration or writing a song? Both of

that I came back with.

which I imagine are initially isolating processes before you share with a publisher or bandmates…

A lot of collage involves collecting pieces of found imagery. Did you collect anything as a child? Where

With illustration I have a better idea of what something

do you think your tendency to assemble collages comes

should end up looking like. With song writing I feel far

from?

more at its mercy. It’s the boss of me ... usually.

I tried to collect things as a kid. I wanted to be the kind of Do you enjoy one process more than the other?

person that collected things but I’m not diligent enough.

Not enough of a dyed in the wool enthusiast in any

Not especially. I can feel just as sick of one as I can with

particular direction.

the other. Having said that songs are always more hassle.

Both have their perks ... I like that I can have the radio on

In terms of collage... I think it comes down to genuinely

when I’m drawing and a muted film on in the background

rating my ability to cut stuff out. Growing up, no one

if I’m sat with the piano.

ever asked me to do their home work but I was asked to do people’s cutting out. Nice to do something you think

Where do you draw your main inspiration from?

you’re good at.

For me, any potential satisfaction that can be taken from

What projects are you currently working on?

making stuff has a sort of inbuilt vanishing horizon.

The best song I’ll ever write or my favourite or most

I’m finishing my record at the moment which will come

accomplished drawing is always the one I’m about to

out this summer and preparing for the tour that’s coming

start. I suppose that counts as inspiration ... the fizz of that

in March.

potential.

41

everpress.com/so-young-magazine

Artists

Josh Whettingsteel

Editors Sam Ford

Josh Whettingsteel

Writers

Phoebe Scott

Matt Bisgrove Sam Ford Al Mills

Ross Jones

Rhys Buchanan Harley Cassidy

Eleanor Philpot Dan Pare

Josh Whettingsteel

Printed By Ex Why Zed

Email

info@soyoungmagazine.com

Michael Taylor Adrian Forrow ABANG Cépé

Laylah Amarchih Mariana Malhão Holly Whitaker Mariana Sabio Daisy Link

Josh Scurville

Valat Ampavat

Orlando Weeks REN

Photos for Collage Dan Kendall

Darius Williams Holly Whitaker Mariana Sabio

Neelam Khan Vela Rhi Harper Tom Beard

Website

Art Direction

News

Special Thanks

SoYoungMagazine (Facebook)

Ross Jones

www.soyoungmagazine.com

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soyoungmagazine (Instagram) soyoungmagazine.tumblr.com

www.joshwhettingsteel.com

Jamie Ford

Cameron JL West Kai Fennell

Opposite, REN, ‘Big Boys Cry Too’ Watercolour and Pencil on Paper