So Young Issue Twenty-Five

Issue Twenty-Five

Pottery Shame Sorry Lynks Afrikka Sports Team Katy J Pearson Military Genius Folly Group U-Bahn Norman The Wants Slow Dance

Tomo Campbell, ‘Likewise, A Pleasure’ Oil on Canvas, 180cm x 150cm

Well, we’ve made it to April which feels like some

Slow Dance are arguably London’s most exciting

achievement. It’s a funny time to speak to bands, and

label, that’s if you want to restrict them to that tag. The

possibly to release a magazine but we’re glad you’re with

collective release, manage and host some of the most

us. As Coronavirus messes with our day to day lives and

interesting artists and sounds around and in the peak of

plans, it also takes grip of the band on the cover, Shame.

self isolation, we caught up with them via Zoom. Katy

The five piece recently returned from recording their

J Pearson joins us during a huge upturn in the weather.

second record in Paris and we gave frontman, Charlie

Looking out on a sunset, KJP talks us through her song

Steen a call before he escaped self isolation at his parents

writing process and learning to open up. Sports Team.

place for the fields of Glastonbury where he subsequently

Another album falling victim to the virus. As the band

live streamed himself playing on the skeleton of the

prepared to release their debut album via major label,

Pyramid Stage. Montreal’s Pottery are in the same boat.

Island Records, we gave frontman Alex Rice a call

As they braced themselves to unleash their debut album

where he questions the need for absolutist views and

‘Welcome to Bobby’s Motel’ via Partisan Records,

more. Making waves in small venues across the country

rescheduling took hold once again. The virus is a running

are Folly Group, Lynks Afrikka and Norman. We get in

theme in this issue but Pottery are taking it well. We dig

touch to talk about going slow, cancelling tours and jazz.

into the album and their worst motel experiences. It’s

Heading overseas we speak to three bands who have just

a mixed time for North London’s Sorry as they pair the

released their debut albums. The Wants from the US,

sorrow of having to cancel their US tour with the elation

Australia’s U-Bahn and Canada’s Military Genius. Rough

of releasing their eagerly awaited debut album. We ask for

Trade Books is the independent publishing arm of the

some further details.

famous record label of the same name. Their latest release looks at legendary venue, The Windmill and we speak to author Will Hodgkinson about the book and how his son

3 Lynks Afrikka Str8 Acting 5 Pottery Take Your Time 10 Sorry 925 13 B.D. Graft So Young: Artist Series 15 Military Genius Deep Web 19 Roof Dog Book Review 23 Slow Dance Records Collage 27 Katy J Pearson Tonight

has illustrated it.

29 Shame Acid Dad 34 Folly Group Butt No Rifle 35 Northern Rising The Golden Lion 37 Sports Team Here’s The Thing 41 The Wants Container 46 Norman Beef Ravioli 48 U-Bahn Right Swipe

Lynks Afrikka Lynks Afrikka. Where do you even begin? Endless

There’s such a fine-line between being “relevant” and

character, a knack for insane pasta sauce and an agony

that cut off point. Feeling like you’ve suddenly lost

aunt column all spilling out of one wigged helmet. It must

everyone and everything is terrifying...

be noted; this conversation took place a week before the UK government put its lockdown into action as a result

I’ve been thinking a lot about what can be done in the

of the Covid-19 threat. Not even 24 hours after our chat,

meantime. The irony that my mask covers everything

the decision was made for Lynks Afrikka to pull out of all

except my eyes and mouth I mean is unbelievable.

upcoming support shows.

What led you to drag?

You’re literally everywhere at the moment, will this (Warmduscher support) be your first tour?

I didn’t really do it before and I didn’t think of it as drag when I started either. I’m aware that people find the

It’s the first ‘proper’ one yeah. I did a stretch of dates at

transformation really fascinating, they see the superhero-

the end of January which was only a tour because we got

ness / the Clark Kent joy in it all and I really like the

on a train…It was three gigs in the space of five days that

anonymity of it.

weren’t in London but I called it a tour and I loved it. I’ve wanted to do a summer of festivals since I was like, ten-

I was making music already and got asked if I wanted to

it’s been my dream and finally that was going to happen.

fill in at a Spinny Nights gig which, I took on the premise

I booked the big dance stage at 7:30pm at Shambala and

of being able to do something strange. I don’t know

now who the fuck knows… I have asthma, but is that

why, but they said fine and I haven’t stopped since. The

enough to pull out of seven shows I don’t know?

costumes have changed quite a lot. I think before I was concerned about what looked really good but now I know

One of our backing dancers is self-isolating so she can’t

what I like, having helmets with hair I can whip around

do shows anyway. If we were headlining the conversation

and fringe. Whenever I can get fringe I’m happy.

would be different, I could say no and put a stop to all of Right now I’m only getting in to drag to do shows but I

it because it feels unethical.

feel finally, things are getting more cohesive.

There’s also the thing of constantly needing to build up hype. If you miss the crucial “right moment”…by the time the moment’s over there’s a new set of acts who’ve got it.

I’m worried about how this could almost hold-back new acts, those who rely so much on live [shows] to get out there and build a profile…what do you do?

3

Words by Al Mills, illustration by Katie Benn

After sagging under corporate capitalism for the wingspan

Let’s face it, we all dread knowing precisely our own

of our entire existence, self-isolation might come as light

limitations and maybe Covid-19 is to make something

relief for some. We can indulge in our own moment of

of us all, yet. Hold tight and see you on the other side.

torpidity, guilt free, with musicians in particular finding

Pottery have got your backs.

more time than ever to simply create for the sake of creating. This is certainly the case for Pottery and it’s a

Hi guys. How has it been over there in Canada?

notion they’re welcoming with open arms. However, it comes at a weird time for them; on the 10th April, their

Peter: I’ve been in quarantine since my return last

debut album, ‘Welcome To Bobby’s Motel’, was due to

Thursday.

be released via Partisan Records. Like all true victims of coronavirus, it’s been temporarily postponed

Austin: It’s been pretty gnarly but nothing unmanageable.

and now won’t see the light of day for the

Everyone’s just gotta keep doing their part. Ontario is

foreseeable, which is a crying shame,

pretty bad.

as we probably need it now more than ever.

Jacob: Montreal has been getting better over the past week it seems.

‘Welcome To Bobby’s

More preventative measures

Motel’ is a colourful

taken and less people on the

and expansive listen,

streets, which is good.

brimming with How have you been

character. It splashes

spending your

the pages of the

quarantine?

mind with endlessly frenetic drumming

P: Well, I

and bags of

made weed

personality, as is

brownies

the Pottery way.

the other day

There’s a lot of

but mainly music and

love here in the UK

working on a guitar pedal

for the Montreal

I’ve been designing.

five-piece and when their album’s manacles

A: Been writing a lot of country music. Kind

are finally teased open, it will be with a

of a chance to write something honest. Took

greater understanding of how it came to exist

LSD last night…

in the first place.

P: The thing that sucks is that we can’t meet as a band. I The band, essentially, are Bobby and the motel acts as

haven’t hung out or jammed with these guys since tour.

whatever haven they may find themselves in. You don’t go to Bobby’s Motel for the glamour or the minibar but to

J: I’ve actually somewhat enjoyed my time at home.

escape, remember and distract. Sound familiar? Whether

I’ve been recording demos like seven hours each day.

they’re aware of it or not, Pottery have created a record

The biggest thing for me to keep me sane was having a

for the very now but, like this entire shit show has proven,

schedule when I wake up.

we won’t truly appreciate its full luxuries until normality ensues.

Words by Harley Cassidy, illustration by Josh Whettingsteel

6

P: No social responsibility or guilt allows for a lot more

J: Sunnyside Motel, Vancouver Washington was probably

time spent on myself and my projects outside of Pottery,

the worst one we’ve been to.

as well. I feel like we’re all individually building up some new songs to bring to the next possible jam.

A: Man, Sunnyside Motel is by far the sketchiest motel, period.

We’re only really a week or so in this time period, so it’s hard to truly measure the effects, obviously your

J: We found out after we’d stayed that a baby got thrown

album has been pushed back for now - whose decision

out of the window there and a few prostitutes got

was that?

assaulted. It had the feeling of a horror movie.

J: That was on the label end but we completely agree with

P: Weird stuff has gone down in so many regular motel

it. It’s hard for a band like us to put out a record then just

6’s…I remember one where there was just dog poo all

not tour it, you know?

over the carpet on the way to the room and it was blending in…I think someone stepped in some.

P: We’re a live band above all at the moment, so it makes sense to have the album out when we can tour.

A: Yeah, semen all over the room. The bathtub was full of dirt and hair. Smelled like a dead cat’s scrotum.

A: Yeah, it’s pretty crushing to know we’re not touring for a long while now.

J: We’ve been to a lot of bad motels but we’re together through it, so it’s not too bad. I remember sleeping on my

P: Now I gotta find a job…

sleeping bag on top of the sheets so many nights.

J: Yeah, and who really knows what the climate will be

A: Nothing is better than smoking a joint and watching

like when we do start touring again…I think I’m the only

deep South American TV shows in a dingy motel room.

one left with a job.

Were there any new soundscapes or techniques you discovered and fell in love with during the making of

P: True… grab us some burgers, your boys need to eat.

the record?

J: Yep, I flip take-out burgers.

J: Paul bought a cowbell, that was pretty big.

It’s kind of ironic ‘cause the album’s mantra seems to be about “setting yourself free”…

P: I definitely fell deeper during that period into more rhythmic music.

J: More or less… ha. Part of the whole ethos of the record is making the best of a bad situation, so it’s time to put

A: We realised having percussion at the forefront is good

that to the test.

for us.

P: I find it interesting to think about the album now and

P: Was funnily enough listening to a lot of Fela (Kuti)

how much it applies to myself more than ever. It brings

before we signed with Partisan, only to find out they had

the feelings of nostalgia for those times again.

his records afterwards at the office.

J: Pre-corona era.

Was it the Parquet Courts connection that made you want to work with Jonathan Schenke?

I like the idea of you guys being ‘Bobby’ and wherever you end up being the motel - what’s the worst “motel” you’ve experienced?

7

Pottery

J: I was looking through my records and found Schenke

J: We just went over to Paul’s, our drummer, one day and

in the credits of ‘Light Up Gold’. I’ve always loved that

just cranked it out. It was all in the spur of the moment. It

record, it has a great feeling. Then our manager met with

went in a different direction than a lot of the songs off the

him, we had a few calls and realised that we were a great

record but was still in the same world and I’m glad we’re

fit. I talked to him this morning, he’s safe in New York.

able to do that.

What kind of layer did he add to the recording

What was the most difficult track to nail?

process?

A: ‘Texas Drums (Pt. I&II)’ was the one we struggled with P: He added a lot; his general vibe was amazing to be

the most but mostly because Paul wrote it in his apartment

around.

in his style and it took some time to interpret properly.

J: He knew what to say and when to say it. It can be

J: Yeah, the demo had so much lo-fi character so it was

hard recording and spending lots of time on one take.

hard to replicate in the studio.

Meanwhile he was always calm and positive. Fucking love I was at your Windmill show not too long ago - you

the man.

seemed pretty comfortable on that stage. What did you That’s good to hear. Did he mix the record as well,

make of the venue?

yeah?

A: The Windmill was great! I’ve never seen so many J: He did a preliminary mix, then we went in for two days

people in bands in one room in my life. Super strange.

and finished it up with him.

J: Yeah, a lot of homies came out, which was sweet. I A: We recorded at Breakglass studios which is a cool spot.

love playing those kinds of rooms, especially during these times, we’ve got to help small fish. It’s got its own

J: Yeah, our first ever jam space was actually in the

community - I could feel that.

basement of that studio. Which is now a car park.

I saw you all the night before too at the Fontaines D.C. show, that was a pretty heavy night. Do you find it’s

P: That’s where the conspiracy case was found.

hard to balance the line sometimes? There’s a lot of A: Yeah, my guitar case… the best one in the world. It

bands on the road who struggle.

doesn’t shut, it’s broken but she rips and looks reaaaaaally good, too.

J: We’ve struggled in the past, nothing crazy, just being out too late and shit. We’re learning how to navigate all

What do you reckon is the most obscure track on the

of this and recently we’ve been trying to take it easier.

album?

It’s nice to not have a fucked hangover every morning.

Touring is practically living in bars for a month.

Austin: ‘Down In The Dumps’ is kinda far out there...

I can imagine. Finally, any good new music to Jacob: It’s a weird one but in a great way, I’m proud of

quarantine with?

that one.

J: I’ve been listening to a lot of Cindy Lee, Future Islands, What about it makes you proud?

Viagra Boys and of course, our dear Paul Jacobs.

A: The vocals are kind of rap which is different. Super dark.

www.joshwhettingsteel.com

8

S

“It was exciting until coronavirus.” Sorry sound somewhat

So how far did you get into that Stateside tour?

down in the dumps as I get through to them on a call.

It’s understandable given that the North Londoners have

Louis: We went to New York and were just about to go

just dropped their brilliant debut album into the current

to LA when we had to fly home. New York was on the

climate, along with being forced off their American tour

edge of being cancelled as well so that was lucky. It was

after only one date. It must be strange building towards

really amazing, given the circumstances, the turnout was

a moment that’s supposed to be filled with joy only for

really good. It was sold out but we thought a lot of people

the world’s mindset to be absorbed by more concerning

wouldn’t come. It was nice to not go over there for no

matters.

reason. We played a great show and people were really responsive. Hopefully we can get back out there.

Nevertheless, this is the reality of the situation and thousands of artists have been thrown into this uncertain

The album has been a long time in the making - how

territory in recent weeks. Like the rest of the world,

did it come together?

musical and beyond, all we can do is accept it. Nothing changes the fact they’ve put together a captivating debut

L: There wasn’t a turning point but we kind of built up

album which is a diverse statement of intent. Another

to it. We’ve spent a lot of the last two years just trying to

positive is that with the support of their listeners and

figure out how we wanted to do it. We wanted to figure

Domino - you get the sense that everything will come

out how we wanted to record it before just jumping into it.

good once this is over with.

That took a bit of time but once we worked that out it all came naturally. Domino were never rushing to get it out, if

Debut album ‘925’ is the sum of years on the road, honed

anyone was rushing to get it out, it was us. Loads of bands

through recording and experimenting. They’ve nurtured

were releasing around us so we felt like we had to do

the sounds you’ll hear over the last few years; there’s

something. I’m glad that we waited a bit though.

glamour, there’s rock and roll, as well as a morbid edge.

This is a band who have just showcased a maturity which has lasted beyond the early buzz. With all this in mind we caught up with Louis O’Bryen, before vocalist Asha Lorenz joined the call halfway through.

Sorry Words by Rhys Buchanan, illustration by Maria Contreras Aravana

10

You’ve been attached to a busy scene for quite some

L: I think all that stuff just comes naturally, we don’t

time so I guess that’s natural?

intend to make it dark or light, I feel like when something needs to be picked up it just kind of happens. The song

L: It didn’t affect how much we worked or how much

just goes where it’s meant to go. We try not to think about

music we were making. I think that’s because all the

that too much. The visuals tie-in with that as well. It

bands are so different and we’re different to the other

explores weird characters and taboo things. We wanted the

bands I think. So it didn’t get to us too much. There

visuals to be a bit otherworldly because the album feels

was this underlying thing of perhaps we should do it

like that.

quicker or something. We just listen to Domino as well, So was it a fairly fluid and organic writing process?

because they’ve been doing it for so long. If they weren’t pressuring us to do it then we didn’t feel that pressure either.

A: We just write quite a lot at home and we write songs in loads of different ways so it naturally comes out like that.

You’ve been working hard live for some time now - did

Also when we started it was easier to write rocky songs.

that experience help you map out this record?

Now we’ve been playing for ages we’ve been able to branch out a bit with the songs, especially now our friend

L: I guess playing live did, figuring out how we write the

Marco is involved who can provide sampled stuff. We’ve

songs. It was more the recording side of things where we

got to a place where we can play all the parts a bit more.

were figuring out how we wanted to do it. The first couple So what does the album title signify?

of singles were released, although we liked them and they served a purpose, we wanted to take it a bit further than that. We didn’t just want to go into a room, lay the track

A: It’s part of the ‘Rock ‘n’ Roll’ song - it’s a lyric from

down and that was it. We wanted to take it further than

it, it means something has reached pure silver but it’s not

that. The idea behind those mixtapes was to push another

like high-quality silver. It’s just a cool metaphor for doing

side to our music and experiment with recording. For the

our first thing that was kind of proper, but I don’t know,

album we wanted to find a happy medium between those

it’s just lots of things. It’s an abstract title because a lot of

two.

the lyrics are quite abstract so people can take what they want from it.

That makes a lot of sense - I guess it was nice not having to rush into anything?

Lastly - anything specific you wanted to achieve with this debut?

Asha: It has taken some time but I’m glad that we waited because we didn’t feel like we were in the right place

L: We wanted it to be more of a whole thing - we wanted

until we knew how we were going to do it. There are three

it to be an entity and to work well together but still have

tracks on there that we’ve played for a long time with the

fresh ideas there that still explore new stuff. The other

band, then a few off the mixtape and some newer ones, so

stuff we’d done was a collection and with this one we

we wanted to pick songs that were more developed, that

wanted it to work properly as one thing and for people to

would help the album fit together a bit, but also varied a

perceive it as they want.

bit so they weren’t all just one sound or genre.

There’s a clear sense of darkness and grit to the sound which has become part of your identity...

11

Sorry

www.bdgraft.com

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

Uplifted, hopeful, inspired. It’s also nice if my art makes people smile or laugh.

Whose work do you admire and why?

Too many to mention all of them, but I love mid-twentieth century abstract artists like Willem de Kooning and In the third instalment of our Artist Series we’ve

Helen Frankenthaler for their unrestrained expression

collaborated with Amsterdam-based artist, B.D. Graft.

and beautiful use of colour and composition. And David

One of our favourite artists discovered through Instagram.

Shrigley’s art for how simple and witty it is.

We’ve been sharing his work for a few years now and it seemed about time we collaborated. Using two pieces of

Does music influence your work at all?

his work we’ve put together a two-sided t-shirt depicting plants in his two most distinctive work styles; oil pastel

Definitely. I always listen to music whilst making art, and

drawing and painting yellow onto found imagery. We

I’m sure it seeps into what I’m creating. I also reference

caught up with B.D. Graft about his work and the

music a lot in my art. For example, my current exhibition

collaborative t-shirt.

in New York is called “Planted Thoughts”, which is named after Arthur Russell’s song “Planted a Thought”.

How did you get into making Art? Who’s your favourite new band?

As a child I drew a lot, but as a teenager I stopped because skateboarding, music and writing became my creative

Lately I’ve been enjoying (Sandy) Alex G, IDLES, Dilly

outlets. It wasn’t until I was studying film and literature at

Dally, Shy Boys, Crumb, King Krule, and Chromatics.

university that I rediscovered my love for making art. My friend Geoff J. Kim had started making beautiful collages

Tell us a little about the t-shirt pieces...

and inspired me to give it a try. I did and became hooked.

This eventually led to what I’m doing now.

The front image is from my “is it mine if I add some yellow?” project, which I use to explore questions of art

How do you go about starting a piece of work?

and ownership. The back image is an oil pastel drawing of a bouquet, in a style that I recently discovered and really

Usually I have an idea in my head and just go about

enjoy utilising. Both artworks feature plants because,

translating it straight onto paper or canvas. Sometimes I

well, I love plants. The older I get and the longer I’ve

use my iPad Pro to make a quick sketch beforehand, but I

been living in big, hectic cities, the stronger I feel the pull

generally like to just make a start and see where it goes.

towards nature. I see myself living on a farm in the middle of nowhere in a few years, haha.

Tell us about a typical working day...

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

I usually start the day answering emails at home with a cup of coffee, then I take my dog Homer to the studio

I’ve started trying my hand at three-dimensional works

where we spend the rest of the day. If I need inspiration

(sculptures and ceramics), which I’ll be sharing with the

I’ll cycle to a museum or take Homer for a long walk. My

world soon. I also have a few cool collaborations coming

girlfriend has a 9 to 5 so I try to stick to the same rhythm,

up. Apart from that I just want to improve my craft and

so we can spend the evenings together.

have fun doing so.

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everpress.com/so-young-magazine

Military Genius, the new project to grace us from Bryce Cloghesy of NOV3L, Crack Cloud and Blanka is a realisation of the real creative freedom which springs from the ability to first destroy what has come before.

New album ‘Deep Web’, released through Unheard of Hope in early March, is an eight-song journey into a yawning cosmic abyss. Ambient bleeds into noise, offkilter jazz melts into club rhythm, and as listeners we slowly dissolve into the primordial sludge of pure escape – only to be snapped back into shape before we lose ourselves completely, glowing yet uncertain.

With our minds duly warped, our souls cleansed, we sat down with Military Genius in a Soho café to discuss evolution, experimentation and escapism.

With NOV3L and Crack Cloud, of which the two of you are both members, I wouldn’t have necessarily thought there was any level of constriction to the direction and innovation you can achieve with your music. With this in mind, what does Military Genius represent, and what do you hope to achieve?

This project started separately when I was in Montreal, prior to my involvement with NOV3L and Crack Cloud.

But John and I have a long-standing musical relationship over the last ten years, and he brought me into the fold with those two groups. We wanted to create a new musical world, that stands alone and almost independently, as a songwriter and musician. But I think there is also a lot of crossover between the ideas and community of this (Military Genius) and those other groups.

It’s interesting to hear you mention that word ‘community’, as it feels many people are drawn to this idea of you guys as a ‘multimedia collective’ or whatever. Is this something you feel is important to yourselves as artists? Or is it simply a matter of journalistic buzzwords?

I think the community is constantly growing and changing- paths converge and diverge, and it’s all unpredictable, everything is in flux. But it’s that constant change that leads to new ideas, new creation.

16

‘Deep Web’ was recorded over the last four years,

I read that Morricone had quite a large influence on

whilst you’ve both been on tour with other projects.

the album, and listening to it, I can almost imagine it as

How did the process of writing and recording whilst on

a film score. Does that come from a desire to create an

the road influence the final product?

own-world narrative to the music you create?

Well, the recording actually started separately prior to

That’s exactly the direction, and I feel that in the coming

the touring, and it was just a long term project necessary

years we will be working on some more cinematic

to create something which does inhabit a world of its

soundtracks. But his (Morricone’s) influence, Angelo

own, and actually just taking the time to ensure it says

Badalameti, Hans Zimmer, all these classic score-heavy

something unique which needs to be said is important. I

composers are a huge influence. It’s just a different

think bringing John into the fold and him helping me to

perspective to the common perception of what a

complete the record in its latter stages was very crucial.

performing musician should be. We’re trying to escape

But I don’t think touring put too much pressure on us-

that, and just make it something that stands alone as a

these things just happen naturally, and we just took as

world you can immerse yourself in.

much time as we needed to get it right.

Words by Dan Pare, illustration by Josh Whettingsteel The album is a really personal one, could you talk me through some of the themes and influences that run

Opposite, ‘Primarily Poodle’ by Michael Taylor

through it?

Mixed Media on Paper

It does come from a very personal place, with a lot of very personal life experience poured into it. I think John and I have both had our share of close calls with death, and just really intensely heavy emotional periods of our lives. It’s sort of like wanting to break that down, and go a bit deeper than the shock value of rock music can have.

Also, just taking new influences from stuff like ambient music, noise music, jazz, and just converging them into a statement that expresses other emotions that we want to exorcise.

It feels significant that you mention both ambient and noise music as influences on the album, because there is that dichotomy between the harsh and the soft on the record. Is that contrast something you were particularly focused on with the record?

Yeah, I think opposites are important in drawing people in and then destroying, challenging. Like I said, it’s experimentation around a life journey- a lot of ambient music is inspired by just the everyday sounds we hear around us, and so we were trying to approximate that within a structure that feels rewarding.

17

The Goa Express

The Windmill in Brixton has been the vital breeding

Every year we go to SXSW with a new panel and

ground for a large amount of the bands we’ve featured in

showcase, and for SXSW 2020 I suggested we do one on

So Young over the last few years and so we owe a massive

the Windmill. I found it fascinating that this run down flat

debt to the place and the people behind the scenes.

roofed council estate pub, a former Irish boozer with a famously scary dog on its roof, should have become such

Will Hodgkinson has now cemented the Windmill’s

an important centre for underground music.

cultural importance in a new book published by Rough Trade Books and beautifully illustrated by his son, Otto.

In order to do a panel at SXSW you have to collect a certain number of votes, so I put out a tweet asking people

At its heart this book is about the way the small, dingy

to vote for our SXSW Windmill panel. Nina Hervé of

venues that we discover in our youth take on a spiritual

Rough Trade saw it and thought it would make a good

significance that sticks with us for the rest of our lives.

book. So the idea came from her, not me!

The relationship between Will and his son is very important too, not only visually with Otto illustrating

How did this book come about in the form and size it

the book, but both finding themselves frequenting the

has been released in?

Windmill, arriving together but parting ways upon entering. Otto with his friends and Will with the old guard

Initially it was going to be a Rough Trade pamphlet, but

such as landlord Seamus McCausland, booker Tim Perry

after a while I realised that it was going to be more of a

and regular, James Endeacott.

short book - about 20,000 words. That felt like the amount needed: I couldn’t see myself writing a full length book

We caught up with Will to learn more about his book,

on the Windmill, but at the same time there was too much

‘Roof Dog: A Short History of the Windmill’.

to say, too much history, to just do an essay. When we decided on having the illustrations, the emphasis was

Having first visited in 2010, what led you back to write

making a unique object as much as a book, hence the

about The Windmill?

embossed cover and the perforated flap that turns into a bookmark, containing a timeline of significant Windmill

I work with a guy called Crispin Parry, who runs a

events. That was Nina’s idea.

company called British Underground: they take significant movements in British music and export them to the rest of the world via Arts Council-funded showcases.

19

Words by Josh Whettingsteel, illustrations by Otto Hodgkinson

Did the idea for it to be fully illustrated (as opposed to

For a start it is off the beaten track, so property developers

being accompanied by photos) come after writing it or

aren’t sniffing around. For another they keep the costs

before?

down, as anyone who has seen the state of the exterior will confirm. But I think it has survived because it is versatile.

That came at the beginning. I’m a middle aged guy and

Seamus, the landlord, set it up as a place for traditional

although I do go to the Windmill, it’s not like I can

Irish music, but when he saw the Irish community leaving

hang out there every night. My son Otto, however, was

the area and the place dying he had to think again. Tim

18 and he was very much part of a scene there: a lot of

Perry, the Windmill’s booker, is a former music journalist

his friends’ bands, like Roscoe Roscoe, Denh Izen and

who came on board in the early 2000s and he’s very good

Stepbrother, have all played and for him it has become

at spotting talent — not bands that will necessarily draw

something of a second home, a place of late teenaged

a crowd but ones that have something about them. Hence

freedom and discovery. He had just left school and was

Shame, the Fat White Family, Mika Levi, Goat Girl,

starting a foundation degree at Camberwell College of

Black Midi all having early gigs at the Windmill, and then

Art, so I asked Otto if he would provide the illustrations.

wanting to support it when they are big.

I requested that he draw a picture of the late Ben the Roof on the cover, and pictures of Damo Suzuki, former lead

Now small venues are facing the biggest crisis in a

singer of Can, the four members of black midi, and The

generation. At the time of writing we’re in near total

Rebel, aka Ben Wallers of Windmill legends the Country

lockdown and somewhere like the Windmill will likely

Teasers inside, because they were all acts we had seen

be empty for at least two months. It is better that the

together there. I had to hide in the corner while Otto hung

government have enforced rather than suggested a ban

out with his mates, mind you. The rest of the illustrations,

on pubs and venues because with any luck they can now

I left up to him.

collect some kind of insurance compensation, but it is going to be tough. We’ll really know what we’re missing

In the current state of affairs, venue closures are going

if the Windmill is forced to close down, but I think it will

to be an even bigger issue, but I feel like if any venue

survive. Seamus, Tim and the gang are pretty tough in

can survive this it’s the Windmill. What is it about the

their own way.

Windmill that’s meant it has already survived so long?

21

www.roughtradebooks.com

Can you remember the moment you realised something special was happening at the Windmill in relation to the new crop of bands and artists that have frequented it in the last 5 or so years?

I’m not sure I can pinpoint a moment, but I do remember going to see Damo Suzuki there a few years back and thinking something was going on. There were plenty of old geezers in the audience who grew up loving Can and so on, but there were loads of interesting looking people in their late teens and early 20s; the type of people who clearly bothered to seek things out. It was the return of the underground. And I thought: these cats have always been out there, people who want to delve into other worlds, who are curious and creative and want something more from life than just what is placed in front of them.

Probably the real catalyst for the Windmill in the past decade has been the Fat White Family. They inspired a whole generation of South London bands to get up and do something and the Windmill was the place where you could do it. In their wake you can trace Shame, Goat Girl, Warmduscher and so on, and then an even younger generation of kids came along who can really play: black midi, Black Country, New Road, PVA. It is generally termed post punk, but that no longer fits. black midi are essentially a prog/free jazz band. PVA are indie dance. The Windmill is genre-fluid and long may it continue.

Roof Dog: A Short History of the Windmill

by Will Hodgkinson is available to buy now from www.roughtradebooks.com

Like for instance we have someone on our label Saint Jude who does a lot of production for other artists, so obviously he’s more club inspired but he’s mixing for like Platonica Erotica. No one just does one thing within the collective, there is a lot of collaboration between the people involved.

I guess that’s why we’re a bit more selective because the artists we end up bringing on have to accept that it’s going to be like that.

A lot of the artists on your roster inhabit an interesting space between electronica/experimental and indie, was that always where your interests lie?

Marco: It was actually just something that I seemed to pick up from chatting to people at gigs, a lot of them would really want to release their solo stuff and just didn’t know how it would sit with their main band stuff. And then you’d always realise that it would have some weird electronic tinge that was probably inherited from the times we grew up in with all the electronic chart music, the generation of bands like black midi and stuff love music like that. It’s an assumption that these guitar bands just Starting out as an A Level Art zine project, Slow Dance has grown into a fully formed label and music/art collective, representing some of London’s most beguiling acts, such as PVA, Lynks Afrikka, Glows and Saint Jude.

We had a zoom call with some of the main team, Marco Pini, Maddy O’Keefe and Darius Williams to talk shop and the label’s future legacy.

love guitar music - all their demos are them trying to make minimal techno.

How do you scout artists that you wanna work with?

Maddy: There’s always good stuff coming through the doors of the Windmill and we’re recommended people constantly, you’ll have a band that will be like ‘I played

Was the plan always to function as an art collective rather than a standard label?

with this band recently and they’re really good’ and then you make sure that you check them out next time. Marco also does a lot of discovery on Soundcloud.

Marco: I always use the metaphor of collage because the original zine was made up of collages, the original t-shirts were collages, the compilations were collages...and weirdly that mirrors the ethos of the label: it’s a collage of different creative stuff that we just put together. I guess it’s become a bit more defined recently but really you’d just call it a music or a creative brand. It’s also a place to share what other labels are doing, so in some ways it’s just

Marco: Never underestimate people sending in demos. We tend to listen to everything that we get sent and then we’ll just put on a show, pick out a demo and see what happens.

That happened with Joseph Kurtz, who’s been following us for ages on Instagram and just liking all our posts. Then he put out a demo and I was like let’s see what this guy’s stuff is like and now we’re working with him.

an information board of what’s going on in the city and around the world, and because everyone is friends anyway it links in with quite a lot of scenes. Ensuring there’s not a gap between the artists and the label is probably the main thing about Slow Dance.

23

Words by Eleanor Philpot, illustration by Marco Pini

So you’re open to people sending you stuff?

I was finding this very difficult last week just in terms of my mental health because I’m stuck at my mum’s house

Marco: Definitely! We all try and help them out, like with

in Sussex but now I’m feeling a bit lucky that I’m not in

the radio, which we stopped doing before as we became

London. Hannah was saying that she’s looking forward

too busy with the label and other stuff but now we’re all

to using it to create stuff and is a bit excited about what

quarantined... we’ll put out a status saying ‘send us a mix

can come from it. People have been recording demos and

or send us demos.’ I do a daily demo show where I just

sending them to Marco so...

play every demo I get sent; every mix that gets submitted will one hundred percent go up within the quarantine.

Marco: And Lynks Afrikka

Even if it’s not our kinda thing, we just want to give people some sort of platform to do something.

Maddy: Who actually has coronavirus

What is it about the London scene?

Marco: He’s been doing ‘Lynks Afrikka’s daily isolation tapes’ with like a full screen video. Also, in general

Marco: It’s been said to death but I actually genuinely

(because of the Coronavirus) it’s just moving more

think that it’s the Windmill, and promoters like Lanzarote

towards live stream as a template which enables its own

and Tim Perry that have made London so exciting, as

rules and creativity. It’s shifted into an online space which

well as this openness, with multi-genre crazy shows. I

is arguably much less fun but it still enables different

suppose the first iteration of that was with Fat Whites

things to happen.

- and then Goat Girl and Shame came through - but the next generation beyond that was a really interesting thing

What legacy would you like Slow Dance to leave

as a lot of these bands weren’t just guitar bands or they

behind?

were influenced by a lot of other electronic or weird stuff. You’d go to the Windmill where it would be like

Maddy: It would be great to just support artists who might

black midi and Black Country, New Road and there’d be

not have been given a platform if we hadn’t existed. It’s

a techno violin trio playing and then a weird opera set -

nice to have our journey filled with all of these artists that

that’s why it’s exciting as I think promoters started taking

we admire massively. I guess it would be great to become

more risks.

a fully functioning full time label, which we are but we all work other part-time jobs to fund this.

Darius: It’s a lot easier to put on shows here. Like if you look at Europe there are a lot of places where it’s really

Marco: This year I’ve become incredibly humbled and

hard to put on new music showcases. London venues often

content with what we’ve done so far, getting invited to

have no hire fees, you only get charged for how many

Japan is like an absolute... if I told that to my thirteen year

people come in. In Europe, You have to pay like 800 euros

old self that would be incomprehensible. Or even to do an

to hire a venue before you even think about ticketing or

interview like this, it’s incredibly humbling that people

doing the next thing. Here you can email Tim [Perry] and

have picked up on it as it’s been like our lives for years,

he’ll let you put on a show for like twenty people on a

everyday, doing this. For the future it would be great to

Monday night.

just keep going. I don’t have any expectation as to what will happen - the last two years have been insane.

How are your artists handling isolation? Are they feeling more creative or just overwhelmed?

Maddy: I think both. I’ve been speaking to Hannah quite a lot lately - who’s Platonica Erotica - and PVA. I think that although everyone is struggling there is a sense that we’re all in it together.

It’s a beautiful evening when we sit down to chat with

because once you’ve released a song that’s very personal

Katy J Pearson over the phone. It’s ironic that as soon

there isn’t much point in hiding it. I think it took me that

as a global pandemic forces us all into our homes for the

long to be that vulnerable with an audience, but once you

foreseeable future, the weather decides to finally take a

get there you think “shit, it’s not that bad”.

turn for the better. At least we have ‘Tonight’ and ‘Hey You’, KJP’s first two stunning singles with which to take

This is obviously such a personal and introspective

some solace from. The songwriter from Bristol offers

project for you, would you say it’s cathartic power is

heartfelt, personal songs full of endearing vulnerability

guiding you in what you wish to do next?

and unwavering hope - a human being showing their workings out through the school of life. It’s an added

Yeah I’d say so. It’s quite funny ‘cause at the moment I

bonus that the songs she writes are some of the most

feel like some of the songs I’ve been writing have so much

engaging and rich we’ve heard so far this year.

to do with sitting inside, one of them’s called ‘Morning Light’ and it goes “got to stay here inside, the morning

Let’s talk about your music, songs that you wrote while

light I can see in my window”. It’s funny cause at the

in your own self-isolation, was it a necessity for you to

moment while you are writing while in self-isolation

be able to almost reset?

you do keep writing about things to do with the outside subconsciously, which I do find really funny, you can’t

Definitely, I think I find it hard to concentrate anyway.

write about the rolling hills and the sun and the sea. It

I’m very spontaneous in the way that I work, so if I’m

shows that, because the way that I write the lyrics and

working with my brother or another bandmate, if they

melodies come at the same time, so whenever I do write

want me to do something, if I say yes I have to be able

it’s always my subconscious telling me how I feel about

to do it right then or else I lose focus, I get very easily

things, so maybe I am feeling calm about this but in my

bored or need to do something else, I change my mind a

head I’m like “I want to be outside”. I’m looking out the

lot. So it was really vital for me to have a space where I

window right now and it’s the most beautiful sunset, it’s

was literally on my own, I didn’t really know anyone in

absolutely gorgeous.

Bristol at that point. I didn’t have a job at that point so I was waking up, getting to the studio at about 9am, and

While there is so much sentiment and perception

just sitting there and throwing as much as I could at these

ingrained within your music, it’s uncompromisingly

songs. It’s hard work sometimes, because you think “what

playful and infectious, it’s appealing and welcoming.

am I doing, what is this shit that I’m writing”.

Was that an important balance for you to be able to express?

Do you feel putting yourself in that situation you were able to uncover things you didn’t realise you felt?

I’d say so, I think coming from a project where I was actively forced to be as open and vulnerable as possible

I think when I first got to Bristol I was very overwhelmed,

when at the time I was still quite young and not ready to

I’d just been dropped and I was trying to work out what

do that. It’s been a progression to get to the point where

I wanted to do with my life. I still wanted to do music, I

I’ve done it without thinking about it I guess. That’s

didn’t know anyone in Bristol, I was feeling insecure, a

what’s definitely happened, where it’s gone from the point

bit wobbly and I think it was really good that I had that

where I was forced to open up when I didn’t want to, to

place to go to and get it all out into music. I think it was a

today where ‘Hey You’ and ‘Tonight’ were written very

time when I really started to connect what I felt with my

subconsciously, without thinking about the fact they were

songwriting, whereas before with my old band I was very

very literal and relatable songs. It’s something that’s a

much writing about scenery, the trees, all this bollocks.

progression really, as you become older you become more

So it was nice to write things very honest to myself and I

accepting of your flaws and of who you are and putting

think it’s taken me a very long time to be able to do, but

that out there. I think that’s happened quite naturally.

once you get there you can’t really go back,

Words by Ross Jones, illustration by Philip Lindeman

28

It’s a strange time to speak to Shame. After confirming and celebrating their album being finished on social media, the band began making their plans for it’s release and how they were going to take it to the world. The effects of Covid-19 reach far, wide and into the future. We were all set to watch Charlie Steen lead their charge with album number two sometime this summer and possibly

Hey Charlie, How are you and the band doing?

play some shows sooner than that, but those plans are now on hold. A circumstance shared with many of their

Everyones sort of in this mass confusion which is

contemporaries right now.

completely understandable. I for one, really didn’t expect this level of pandemic. When we were recording the album

The delay however has not curbed our excitement for the

in January in Paris, Sean was like reading out stuff from

return of the South London five piece, and keen to know

BBC News from China and you kind of just think it’s a bit

more about what’s in the can, we rearranged our pub meet

of a dream or a movie.

to a lockdown friendly call where I found him in good spirits at his parent’s place. Communal showers caused

We’ve been looking at it as a band because of course, we

his mum to “prang out a bit” and call him home. With a

are all self employed. We were looking at doing a tour

belly full of pasta and life on pause, Charlie Steen walks

and that all had to get canceled and you know, the other

us through the process of album two, addresses learning

festivals. You know, in all the Tom Cruise and Brad Pitt

to live with yourself during this strange time and explains

‘end of the world’ films, they never mention Glastonbury

how the band have progressed from the teenagers making

being cancelled. They never talk about the festivals in

music above a Brixton pub.

those films.

29

Words by Sam Ford, illustration by Josh Whettingsteel

I think that touring as a whole and for this type of music is such an integral part because you want to be able to communicate and express yourself in front of your fans.

You want to be able to go around and play to people. It’s How has it affected you personally and as a band so

such a large part of it and you know, the writing and the

far?

recording is all done so that you can show it to people.

And when that’s lost, it’s a sad time.

We recorded the album in January and that was mastered a couple of weeks ago. We had a tour planned and we were

On the other side of it and being self employed, it’s about

going to go to a lot of cities that we hadn’t been to yet but

being able to pay the rent. Festivals are how a lot of

then that got cancelled. Then all these other festivals we

people get by and touring and stuff. I mean, all I wanna

were supposed to be doing all got rescheduled or pulled.

do right now is go out and tour. I think when this finishes,

We were planning to release music over the summer and

everyone is going to come out with their massive tours. I

then the album in September with a big tour in the UK,

can go away for another two years now (laughs).

a big tour in America and then a big tour in Europe. All of that has been cancelled. We have a lot of group calls

Yeah, we’re all realizing again how much we love it and

with our label and management and you just have to think

how lucky we are. In times like this with isolation and

about how all of these people are going to recover from

social distancing, you kind of get back to the basics.

that. You’ve got to think of the distribution, the venues...

You know, you have to keep yourself occupied. I read

you know it’s so tragic to see these intimate venues that

an amazing book called ‘Slaughterhouse-Five’, it’s part

are already not standing on the strongest legs having to go

science fiction, part non-fiction, it’s about this american

through these blows. To do a tour is relying on so many

soldier who goes into World War Two and gets captured

different factors and all of those factors all come down

by the nazis and the first camp they go to is a British camp

to people. You’ve got the promoters, the sound men or

of people who were captured at the beginning of the war.

women, so to have it all crumble is a strange feeling. It’s

The British back then were told that if you’re captured

just a massive delay but I will say we are all very grateful

that every morning you do half an hour of exercise, you

and understanding that we are in a more fortunate position

speak to yourself for half an hour, you try if you can to do

than a lot of other artists that we know.

half an hour of reading, you polish your boots you know, you sort of do all of these things that keep you (going), it’s

There’s also the people who were in the middle or at

done with the idea that your physical state reflects your

the end of their album campaign. Like the Baxter Dury

mental state. It’s a bit of an old British (notion) but I do

album that just came out and Porridge Radio. I’ve been

think there’s a truth to that. And now I’m trying to, like

seeing that they’ve been doing a lot of stuff online which

I’m reading, I’m painting, I’m drawing. Staring at your

is amazing and obviously it’s a new platform that people

phone for too long especially with the news that’s going

are using their intuition to get access to their fans and

on at the moment, it’s important to keep yourself informed

thinking outside of the box which is really cool to see and

but if it’s going to damage your mental state then it’s not

I have a lot of respect for it.

worth the risk.

Shame

30

Do you feel there are some potential positives in the current restrictions in terms of getting to know yourself and learning to adapt to and love your own company…

It’s interesting what you say about getting to know yourself, like with this second album it was after two

She’s an amazing cook, so she’d cook us some food and

years of touring and lyrically this one became a lot more

Acid Dad would sort of party around. So yeah, we wrote

internal because we came back from all this touring and

some songs and then came back to London. I’d say from

then I moved straight out into my flat and I was on my

August onwards we kind of got into a zone and started

own with my own thoughts. I then spent a lot of time

churning out these songs. There are some songs on the

going out and getting as fucked as possible and then I sort

record that can really relate to ‘Songs of Praise’ and then

of had to, after all the hangovers and you find yourself

there are the more experimental ones and then there’s a

at 4 o’clock in the morning with the chef at your mate’s

dancier side. So there’s all sorts of components and all of

restaurant, and you’re like “how desperate for distractions

those ones were written in block periods and then James

am I?”. Getting comfortable with yourself is a massive

Ford, the producer was interested and we did a demo with

struggle and the importance of it is quite understated.

him at Konk studios which I think is owned by The Kinks

There are so many distractions that you can create for

or something. We really got on with him and the song we

yourself like going to the pub or going on Instagram.

did didn’t have a chorus and it took us so long (to write a chorus). We wrote that song in March last year and we

We’ve been sent some new music which is very exciting

didn’t get the chorus until January. We really got on with

but obviously at this stage there’s a limit to what we

him and he’s a really busy man.

can and cannot say due to the rescheduling. However, we know your album is ready and mastered so can you

Originally we were going to go in and do (the album) in

talk us through how it all started to come together.

March this year because of his schedule and how busy it

What’s the story of the process behind album 2…

was. Then we flew to Chicago for a New Years show at a venue which is like The Windmill of Chicago. We went

I think to go back to the root of it, it started in Scotland.

there and it was just a massive piss up for a few days

After we did those two years of touring, we came back

as we had friends there like Twin Peaks. So it was very

and moved into the flat. Me and Sean went to Cuba for a

heavy. It was New Years Eve and we had a call from our

month and everyone went on their holidays. We said we

management saying James has had a cancellation and do

were going to take a couple of months off and then it came

we want to go in to record the second album in four days

to March (2019) and we sort of said to our management

in Paris. So we were like “fuck” so we had to play every

that we’d like to go somewhere remote and somewhere

song off the new record that night as rehearsal.

where we won’t end up down the pub and there weren’t that many distractions to sort of write and see what

So we flew into London and then straight to Paris to go

happens. There’s a guy called Kyle (AKA Makeness) and

to La Frette Studios which is like this massive mansion

he’s Scottish and his dad has this house in the middle of

on the outskirts of Paris. It’s run by this sexy french guy

nowhere, sort of half an hour from Edinburgh. We loaded

who walks around in his slippers with his massive dog

up the gear and drove for like ten and a half hours and we

and camera. Then James turned up and it was like 15-16

were gonna be clear headed in the mountains with nothing

hour days and non stop working. It was just a fucking

around. We roll up the hill and there’s this techno blasting

incredible experience, we were there for twenty days and

out of the windows, it’s eleven oclock and there’s this full

we got twelve tracks done and we are putting eleven on

blown party going on and it sort of ended up being one of

the record. The last record was ten days in the middle of

the heaviest weeks of my life. Kyle’s dad is called “Acid

touring, whereas with this one we were well rested and we

Dad” and his partner is called Gale.

were really able to get into the headspace.

31

www.joshwhettingsteel.com

As a band, you’ll always be somewhat self deprecating but I think it’s clear on these songs you sound more accomplished as musicians. The word that stands out for me would be ‘progression’ and you’ve been brave to play with new ideas and sounds. Was it important to you as a band that it was more progression than change?

If we could successfully achieve our sound that would probably be the finishing record of the band (laughs).

Thank you. I think it was natural. I mean there were

There’s no further place to strive to if we feel we’ve

elements that we didn’t want to lose like our humour

accomplished it. I mean with the first record I know it

because that is a massive part of our personalities and the

was only two years ago but how young we sound and you

self deprecation and the satire and stuff. But naturally

know the truth behind that is that it was a record written

it was going to happen, we wrote the first album when

above a pub in Brixton. Where this one has all the context

we were sixteen to nineteen years old and toured it for

of touring and being twenty-one and my own internal

two years. We wrote this second when we were twenty,

experiences. I think we are always trying to work it out

twenty-one and we’ve played a lot more, a bit older, a few

and that’s part of the fun.

more experiences and we’ve listened to a lot more records so there’s more influence. I’m happy that was able to

Delving more personally to you, lyrically are there

come across.

any particular places, people or instances that have influenced the words on album two?

With this record, and at the beginning it caused some arguments about what kind of songs we wanted to write

I think, to be honest the whole thing has a thread which is

and when you start writing after a large period of time,

an identity crisis. Sort of picking apart different elements

that can cause kind of a friction. You’re unclear of where

as to which make you feel whole or human and analysing

you want to go even though you know what you want to

them. Definitely digging a lot deeper and more personal

achieve. After all these petty arguments we just had to

situations. I felt like that’s what I wanted to do. I mean

go back to how we wrote the first one where if someone

lyrically, everything we wanted to do with this record was

would come in with an idea and we liked it we just went

discussed like everything else and it’s pretty intimidating

with it. Not overthinking who we are trying to appeal to

even if it is four of your best mates, to open yourself

and what we are trying to achieve other than just writing

up and sort of have everyone reading it. But it’s what I

a song that we are really happy with. There has always

wanted to do and that’s a massive challenge in itself.

been a difference in which the band writes and which styles they’ll bring into the room which has helped to

Anything to leave us with Charlie?

propel (the songs) forward and everyone has been able to leave a trace of their personality in a song by bringing in

Going back to the whole Corona thing. Charlie’s mum is

a different influence. I think there is a lot of confidence

a nurse with a lung condition working in the corona ward

with those songs. We are all really happy with them. They

and isn’t being given the right treatment and she’s made

are different but it’s the only natural thing to happen, there

to work without the right masks and stuff. So I think (we

has to be a form of adaptation.

need) everyone supporting those people and being aware of who the true heroes of this situation are and those who

Do you feel that you’ve now found or harnessed what

are risking their lives to help everyone in this time of cuts

the Shame sound is or your ideal version of the band?

and everything.

Folly Group This is an introduction to the body that is Folly Group. It

S: We’re cautious of saying something before we have the

follows a meeting carried out in a previous timespace of

body of work to support us. It’s extremely early days.

shit beer, rock n roll and plentiful social interactions. All that can be said is for the most part, we look forward to

You’ve all been around, playing in other bands and

resuming progress when we can. With only one single to

working ‘the scene’ already. How did Folly Group come

their name, not much is known about this group and that’s

to be a working collective?

the way they like it. Based on collective findings, if you appreciate virtual Cowboys, track remixes and, a rhythm

K: WE KNOW EACH OTHER FROM THE SCENE.

section that’s less of a section and more a conquered network (cowbell included) then you’re gonna want to

L: Three of us live together, we have a studio in the house

stick around and see where this plays out.

and had started recording some songs so figured… ‘why don’t we practise them in this house’. Then Kai joined the

Hey, so to get things out in the open now before we

band ‘cause he kept bugging us… filling up the inbox,

begin… I did some stalking and I can’t find any

sending letters in the post, hate-mail…

information anywhere. Who are you?

S: We’re making it sound like we’ve been Simon Cowell Sean: This is our first interview. We’re being quite

’ed together. Kai is a long-term friend of ours and has

selective about what we reveal at this point which is why

added a lot to the group.

there’s nothing to dig up at the moment.

T: We’ve also used the term ‘studio’... it’s more Louis’ And it’s early doors for you guys...

room which turns into a studio when we put the bed in a corner and decide it’s gonna be a band day. But,

S: It’s early doors yeah which in a way, reflects the nature

we quickly realised something was missing and that

of the project. We’re trying to keep things as much of a

something was Kai.

360 project as we can- we produce everything ourselves, make videos with our friends, do all the visuals. We

S: There’s a joke at Louis’ expense which is that we’re a

remixed our own track recently and we’ll be remixing for

really “rhythm-forward-band” but, there’s a definite dance

other people soon too. We want Folly Group to be a sorta

music influence in our background. We’re trying to veer

collective / shady corporation as opposed to a band where

away from verse/chorus songwriting-which sometimes

it’s easy to join the dots.

works and sometimes doesn’t but, we’d like to make guitar music that incites that sort of reaction as opposed to

Like a friendly cult?

a big ‘sing-along’.

Kai: Well… all cults are friendly on the surface.

We are a band first and foremost and we want to make records one way or another. But, we do want to work with

Is there a motive behind the exclusivity or is it literally,

other people under the Folly Group banner and we’ve

“we’re just starting out, let’s see where things take

got lots of friends who are heavily involved in electronic

us”?

music so incorporating lights and visuals is something we’re interested in exploring.

Words by Al Mills, illustration by Ramon Keimig

34

About twenty miles north of Manchester, thirty-five

Honing in on their new wave tendencies and evolving into

minutes on the northern rail lies the market town of

a four to the floor dance revelation - ecstatic and erratic

Todmorden. Situated in the Pennine Hills, past Rochdale

in sound while deeply emotional and in their own way,

and nestled pleasantly in the heart of West Yorkshire -

empathetic in narrative. Their forthcoming self-titled

the town’s steep, lolloping hills have become a staple

debut album embraces the influences who themselves

for the hiker’s retreat. While it’s industrial heritage also

weren’t flag-bearers in the most typical of senses but

precedes it, with its cotton mills heralding the pinnacle

speaks to the die-hard, those feeling cripplingly uninspired

of the town’s economic boom - a new, more creatively

by the isolating small town mentality of which they were

faceted form of export has once again put it on the map

brought up in and as teenagers were craving to escape

- the town either once or still being home to some of the

from. For Minsky, this was Todmorden, and it was only a

most exciting new musical acts to stem from the North.

matter of time before Manchester came calling.

Lying within the sleepy town is The Golden Lion, a staple public house once devastated by the floods of 2012 but

While the Upper Calder Valley is at the heart of a vibrant

now unquestionably a must-stop that has seen many of

new community, one that we imagine we’ll want to spend

Britain’s finest and most revered acts through its doors.

more time in and explore for more gold for the foreseeable

But why is it relevant now? It was the venue that hosted

future, Manchester is without question it’s catalyst and

the self-booked debut show of perhaps one of its most

breeding ground for development. While obviously

important and exciting acts in recent years.

inspired by the city’s vast cultural history, it’s not evident that any of the groups are looking to tread on old ground,

Syd Minsky-Sargeant to this day still calls Tod’ home.

each new act that has made their mark of late finding more

While certainly not intending to collectively label these

inspiration in the art and music of their contemporaries

groups, his inexplicably vibrant and enigmatic group

than of the dated ideologies of its old guard, unless their

Working Men’s Club are perhaps at the forefront of

name is Mark E Smith. Whether in the basement of YES,

this prolific rush of musical productivity - their name

the famously incongruous setting of the White Hotel

consistently on the tip of everyone’s tongues since the

or out the back of The Castle Hotel pub, Manchester

release of their debut single way back when and it’s been

has once again become the hub for groups to really

pretty non-stop on the matter since. As I mentioned when

cement themselves as being an interesting and absorbing

we spoke with them back in Issue Twenty-Three, they’ve

voice that speaks just as loudly as the saturated market

unrecognisably developed in style and form since.

that tumbles over each other in the south. Manchester constantly bristles with untapped potential - and it may be about to be extorted once again.

35

Words by Ross Jones

If there’s a band that has built their name from the ground

Their bold take on weird-pop jitters with a gritty after-

up on the streets of the city, it’s The Goa Express. While

taste, solidified by Adam Hopper’s dead-eyed stare and

being from Burnley and the aforementioned Todmorden

uncompromising shuffle. Their new single ‘Taking You

(another band that you can probably thank The Golden

With Me’ is the most suitable example of this pleasingly

Lion for) the group have notoriously found a home in

irregular balance in mood, an indisputably infectious jilt

the cities of Manchester and Leeds, their flat parties in

that yearns for escape. To top it off, their sold-out show

Fallowfield now tales of somewhat legend that smells

at Yes Basement right before lockdown descended into a

of certifiable excess from a mile away. Not only being

disorderly cover of The Modern Lovers with fellow fast-

a go-to support act that’ll undoubtedly pull in a crowd,

risers The Lounge Society - perhaps a milestone moment

The Goa Express began making a pretty resounding name

for both when we come to look back on this.

for themselves in the process - so much so that they now share management with the likes of Shame and black midi.

There’s one more place to pin on the map of our northern

Now with their backing, the group are all set to truly go

hot-spots. Hebden Bridge, just five minutes east on

out on their own - and Manchester will unquestionably be

the train from Todmorden and also a proud town of the

home to whatever absolute chaos that ensues. While their

Calderdale Valley. It’s here you’ll find another now

brazen ferocity as a live act and also just as a bunch of

famous haunt in The Trades Club. A favourite of the gang

lads in a band being common knowledge, their sound itself

over at Heavenly Records - they intended on hosting their

is unfathomably more substantial - a raw, dynamically

30th birthday celebrations there before Coronavirus hit -

layered prospect that’ll be treasured and sifted through

the pub-come-venue has hosted most if not all of the acts

with a fine tooth comb by die-hards as much as it will

we’re discussing here.

be sung from the terraces. It’s impassioned and vital, capturing their unified frivolity as a group and instilling

The Lounge Society are one of those very groups, a group

that into three minutes of squalling, succulent noise.

of teenagers formed in the market towns of West Yorkshire and now most certainly at the forefront of its increasingly

If not for Coronavirus tearing a hole through the very

fruitful industry. Their debut single has sold as many

foundations of the live music industry, Document would

copies for Speedy Wunderground as black midi did upon

have been playing their first headline show at Gullivers

their release, the only other group to have had a re-press

to introduce their magnificent debut EP ‘A Camera

on the label. That’s a telling sign of things to come, and

Wanders All Night’. Now, with a rescheduled date at

they’ve got the tenacity and vibrancy to back that up.

Soup Kitchen set for November instead, it can only brew

A whirlwind of expansion and experimentation, The

antagonistic anticipation for the group - the fact more

Lounge Society forge something loud and bracing in their

than half of the tickets for the show have sold already is

foundations and then let it loose - not even sure where

a telling sign of the group’s rising stock. It’s deserved -

they’ll take it but completely assured by their creative

the group are a brooding and utterly unshakable entity

desires to be in full control.

that shivers and baulks from the bile of society’s modern incompetence. Anxious yet hopeful, they arm themselves

What’s telling with all these groups is their sense of

with caustic uproar that intelligently weaves itself into

youthful tenache, an exuberance that is impossible to

your subconscious like a nightmare - except it’s all very

manufacture and can only breed the sort of enthusiasm

very real and you’re wide awake.

that’ll either satiate them or at the end of the day come to hinder them inexplicably. Whatever the unpredictable

On the slightly opposite side of the spectrum is

fallout, the North will still stand as one of the underrated

Blanketman, a jerky and eccentric act imbued with

bastions of resonating and engaging alternative music -

infectious pop sensibility yet still as claustrophobic and

amongst the proud quaintness of it’s history, something

twitchy as a late night uber through Levenshulme.

fucking exciting is brewing.

Northern Rising

36

Sports Team The impact that Coronavirus has taken on the music

Or is it as pivotal a moment as they come for a band?

industry worldwide is one that renders attempting to theorise the outcome of its general stability going forward

I don’t think there’s a lot of pressure, in guitar music

fruitless. The live music sector is on hold, international

especially I think the pressure generally stems from

touring either postponed or totally cancelled, with many

the press. Guitar music can tend to get quite self

of the summer’s festivals so far also heading towards the

congratulatory about itself but we’re still very conscious

same conclusive decision. For a band about to release their

that it’s not a popular genre, it’s not really cool. Everyone

debut album, Sports Team are one of many affected by the

I say this to they’ll be like “oh what about Fontaines, what

Pandemic - the release of said album ‘Deep Down Happy’

about all these amazing bands”, yeah we think they are

being delayed from this month until June. For the band

amazing, it’s the kind of stuff we listen to, but we’re also

themselves, this obviously leaves them in an uncertain

the kind of kids that listen to Pavement B-sides and think

position but one they will no doubt take in their stride

they’re brilliant, but it’s not popular music.

with their famously happy go lucky attitude. While our interview took place before the country-wide lockdown

Do you think it can be seen in that way again? Do you

and the decision to limit social gatherings - Alex Rice is

think it has that power?

already in album press mode, bustling from A to B as we discuss its forthcoming release and the adventure they

I think there is, I really do. Me and you both like guitar

are about to take. While the constant to and fro may have

music, we know it’s really good, we listen to it, I’ve just

started to tire Rice, he’s ever the erudite and personable

heard the new Sorry album and it’s incredible, it’s cool. So

personality he has always been - a pertinent voice

I think there definitely is and I think everyone stands on

unafraid to aim high with the band’s unified aspirations (is

the shoulders of each other, everyone else knocks it a bit

Wembley still booked in?) and damn well enjoy it while

further in, but I feel the appeal of a band has always been

he does it.

the dynamic between people, that’s never changed, that’s why it’s still appealing to be in a band and watch a band

Do you feel like the record feels like a chapter closer or

and engage with it. I think we do that better than anyone

a chapter beginning?

probably, it is a group and it is like a gang. You look at our fans and there are obsessives, there are people that really

I think it’s a weighing up, not consciously, of whether

really love it and it starts with that.

we are happy and whether we are enjoying this. Whether we’re still a good group of mates and whether being in

How has that relationship between you and your

a band is still the dream or are we living in some young

fanbase been for you, what does that mean to you?

professional hellscape where Oli’s got a workout routine and Al has overnight oats every morning and just goes to

I think it started in a pretty basic place where you play at

the gym. It’s that question of is there still more, it’s got to

a pub venue and you stick around and go for a drink with

have a sense of yearning in it.

everyone after, then you meet people and you stay in touch after.

A first album always feels like an opening statement do you think there’s too much pressure put on the big debut album?

37

Words by Ross Jones, illustration by Laylah Amarchih

But now I think the nicest bit about it is that it’s entirely

I think it also comes from a sense of empathy in the way

independent of us, we see it from the outside and see

that it’s not condemning points of view - you talk about a

200 meme accounts, or they’re stoking or selling to the

shared humanity, if you look at ‘Here’s The Thing’ the last

whatsapp group, and we’re not shoving it at all, it’s their

single we released, that came about from us going around

thing and it’s completely independent of us. Like when we

the US - when the election and Brexit was happening -

did The Nag’s Head, they’d crowdfunded someone to get

and we were very conscious of these people that felt the

down from Scotland who couldn’t afford it, it’s genuinely

need to speak in these absolutist statements for your view

really wholesome and nice.

to be legitimised and to push it to the polls as the only voice that gets heard. If you listen to the lyrics it’s not a

The narrative of the record also has a much more

leftist or rightist angle, it’s condemning everyone with the

focused lens - was it important for you to be able to

same brush, which actually forwards this idea of a shared

capture both the mundanities and flaws of the outside

humanity, there are different kinds of people in the world,

world while also embodying who you are as a group?

everyone has this idea of striving and trying to work stuff out.

I don’t think we ever set out to be a band that needs to talk about these things, it’s more what comes out. It’s

And I think in today’s society that’s quite a refreshing

our experience of life and it’s got all of the yearning and

notion really isn’t it?

frustration in there, coming from a point where we all had jobs in London where we were probably in a similar

Yeah I think so, I think it’s just the acknowledgement that

point to people in their early twenties when they move to

people don’t necessarily have all the answers. For us, the

London, start working, spend all their money on rent, go

band, this is our attempt to live well, to have a rich life,

out every night and stuff. After a few weeks you think,

and that means we get to go around the world with our

there must be more, there must be more than this.

friends, and that we’ll be quite unhealthy and it’ll be hard to have proper relationships, and it’s always a trade-off.

I suppose the odd bit about it for us is the fulfillment of it

It’s always a question of “is this good to be like this?” and

is the fact that we have started a band, we have released an

it still sort of is the best feeling in the world.

album and that’s our solution, in the way that we’re saying here’s six people and we’ve found a different way to live.

How content are you feeling right now?

What’s always been great about your lyricism is

I think it’s brilliant, it’s really really good. When you’ve

you’ve never quite shown from what perspective you

got friends around you as well it feels like a family.

are approaching it, almost which character you are

Everything you do gets relativised so quickly as well, you

embracing - does embodying that aloof nature make for

can spend a year on a rehearsal room floor sharing a bed

a more interesting perspective of the world?

with Henry, Ben and Oli, then suddenly you’ve got your own room and you feel like you are living in a palace.

Well what I think it is is it’s quite typical of our generation

If you live quite scrappy I don’t think you need quite as

in a way that people don’t think they have the answers,

much. Yeah we’re quite content really.

most people are very unsure and haven’t really found a way that’s fulfilling and happy to live. I don’t think you hear that in us, no one has this sense of assuredness to them, you get this weird thing where you can get on stage and perform with all these foibles and nervous songs but with all the bravado in the world - it’s an odd juxtaposition.

Sports Team

40

The Wants As it stands, the United States of America is the country

It’s a great uncertainty at the moment. I’m trying to be

with the most confirmed cases of Coronavirus in the

optimistic, but we must admit that the music industry has

world. President Trump remains particularly nonplussed,

had multiple knee-cappings in the last twenty years. One

in one press conference making such bewildering,

of the main avenues where we felt empowered was live

sycophantic comments on the pandemic that he left his

performance, both for its raw uncapturable beauty and

own chief medical officer with his head in hands. While

further for the artists’ ability to sell merchandise without

Trump would like to “reopen” the country as soon as

middle men. This is just the beginning and I can’t fathom

physically possible to get across to one of his many golf

how hard it is for other artists. I think it’s ok to have a

courses, The Wants are situated in the very precipice.

moment of accepting the personal tragedy of this news,

Having had to cancel their album release show in their

we’re all dealing with it to varying degrees.

home of Brooklyn last month, they’ve been affected much like all artists and labels, independents in particular.

Let’s delve into the record, the thing I love about

What’s startling is how pertinent their album, ‘Container’,

‘Container’ on a musical and thematic level, is it’s

truly feels - a deep, insightful exploration of modern

immediacy belies a complex and considered approach

America through immediate and absorbing songwriting.

that warrants intrinsic listening to find reward. Was it

Madison Velding-VanDam offers great insight into the

important for you to be able to express yourself in such

very situation the group find themselves in, and how he

an in-depth way while ensuring it’s instancy?

imagines the very foundations of the industry and world we live in will have to adapt in this generation-marking

My music truly improved once I started with the intention

moment.

to write music that I would actually want to listen to. I began to challenge myself to not stop recording until the

These really are unprecedented times, how are you and

idea felt strange and unfamiliar, rather than what came out

how are you all feeling in all this?

most easily. Eventually, these strange and unfamiliar ideas felt more natural and when I listened back I was actually

I feel emboldened in my sentiments that this country needs

inspired by my efforts. Once I had enough of the ideas that

structural change that even Republicans in the US can get

felt challenging, I had to reign them back in and retain or

behind. I also believe the themes of our record, which just

bring out instancy.

came out the day of the announcement of the US travel ban for the EU, address the complex fragility of the global

The infectiousness of your music for me stems from its

economy and those working their damndest to navigate

intensity, the way in which you seamlessly build a track

and survive without an adequate safety net in case of

into its thriving peak just adds to the appeal. It’s an

catastrophe.

interesting concept to me to find accessibility in such potency?

Can you quite comprehend the impact this is having on the music industry?

41

Words by Ross Jones, illustration by REN

It’s interesting after you put a body of work out in the

I hope this will “wake up” the generations that are

world how you have these epiphanies of naked self

experiencing a catastrophe of this magnitude for the first

awareness. Retaining live band instrumentation, even

time. This includes me. This will give us some perspective

though we adore many solo electronic artists, we’re a live

on the fragility of our entire economy and way of life,

band — we’re an ambitious band! — this is what I think

our arguably unrealistic expectations of “Amazon Prime

will make us stand apart in the long term. We love playing

Now”, for example. I think that many Americans and

music together and the spontaneity and excitement we

citizens of developed nations take the fragility of our fast

have performing is difficult if not impossible to create

paced, consumerist, materialistic societies for granted.

with electronic music. I think that little bit of “heart”

We’ll wake up to the realization that you in fact need less

will always stand out, even while we’re inundated with

stuff to survive. You need food, water, shelter, clothing.

increasingly synthetic pop music in super markets every

But not a lot of clothing. Beyond that, you’re enjoying the

other moment of our lives.

benefits of what art, technology, and material possessions bring to life. Maybe we’ll have some perspective on that.

As we’ve said, thematically the album is a comprehensive and deeply layered perception of

Perhaps from an outsider perspective, The American

America in its materialistic, capitalist state - constantly

Dream as a notion has possessed this flawed, prescribed

plugged into saturated 24-hour culture and taking a lot

mindset for generations, what does it stand for to you

for granted. Was it easy for you to be able to explore

as Americans?

this so laconically within your lyrics, and in doing so in such a way do you feel you were able to gain clarity

I think an unpopular opinion is that the American Dream

yourselves from exploring this?

is one of the most successful psychological manipulations ever conceived. It prods perfectly into our dreams for

Originally, I intended this theme of power to be the

achievement. I imagine that as we continue to learn

entirety of the record, but this idea alone wasn’t resonating

more about humans’ ability to be manipulated via big

with me emotionally and earnestly, so I sought to fill in

data collection and algorithmic advertising targeting

that blank. I wanted to look at my own most personal

tools, we’ll become more aware of just how genius

struggles, at the same time assessing that within the larger

the “American Dream” is. It’s a sense of hope and

sociopolitical identity my family and I inhabit — a grey

optimism and cynicism from those who were born into

area in American hyper partisanship. This exploration

the opportunity to use it as a tool to hoard resources and

was never easy and I was always uncertain. The journey

power.

culminated when my father, who was a key inspiration for my return home to Michigan and the Rust Belt, passed

What have you taken from making ‘Container’, and

away from complications related to opioid addiction. His

what you like people to take from listening to it?

unrelenting obsessive hard work, unchecked mental illness and substance abuse issues, and love of knowledge kept

I’ve taken a fresh look at my country and learned to trust

him in a complex and permanent grey area politically and

myself and our process as a band. I deeply believe we’re

socially.

just getting started and as I’m writing this, we’re taking this pandemic as an opportunity to get back to work in a

I think it’s pertinent to explore what all this means

private and reflective way that nurtures our creativity best

now a global pandemic has subverted the very core of

and in that way we’re blessed for this bizarre moment. I

our livelihoods - we’ve been forced as a generation to

hope that we’re able to safely, healthily, and respectfully

adapt. Obviously it’s difficult to know the answer at

return to a music industry performing for a public with

this time, but will this wake us up in terms of the way

a renewed acknowledgement of the importance of the

we live?

community formed around live music.

43

The Wants

Norman A cacophony fit for these strange and unpredictable times,

N: With ‘Normal Haircut’ the lyrics were constantly

Norman are a band at the exciting forefront of jazz and

changing. The dual vocals was something we had in mind

alternative guitar music fusion. Following the release of

from the start, we’d done demos and stuff but we were

their incredibly well-received debut mixtape ‘Songs from

just chopping it up, moving bits around. We even play a

the basement, The Old England etc.’ on Spinny Nights,

different version of it live now, which did get confusing

I had a socially-distanced Skype call with the band, half

with that one fan who was trying to sing along. Shouting

of whom were in the now infamous Brighton basement

out the line about Beef Ravioli…

(as in ‘Songs From The…’), the others in their beloved hometown of Bristol, about how their brass-infused,

M: Yeah there have been people getting in contact saying

turbulent sound came to fruition.

that you’ve just been eating the wrong beef ravioli and that there’s some good stuff out there… It doesn’t all taste

So how did Norman first come together and is the Jazz

like misery.

element of your sound one you’ve always strived for or something that came with the addition of Harry (cornet

Why a video-accompanied mixtape rather than the

player) to the band?

more traditional singles, EP, music video structure?

Jack: We’re all originally from the Bristol area and have

J: It just seemed more concise. It’s like a representation of

been in other bands and stuff before. Me, Meg and Henry

where we are as a band right now. It’s like ‘this is us, this

knew each other from when we were kids.

is what we sound like’…It didn’t seem right to put out a single on its own.

Megan: Natty joined us a year or two ago and we changed …And as it’s titled ‘NORMAN MIXTAPE Vol. 1’ are

the name from Tropic to Norman.

we to expect more releases in this format?

Natty: We’d been writing a lot but we always knew we wanted that Jazz sound but we knew we couldn’t really

J: I mean, I predict that our sound will change a lot over

achieve it without that brass element. We loved the stuff

time. I like the idea that we put out a mixtape first with

that Harry had been playing with Lice…

a certain direction in terms of sound and aesthetic, then follow it with singles, an EP or an album… And then

Harry: So we had a few sessions writing together and it

start again after that, new mixtape with a completely new

just immediately felt natural. I really feel like I can be

direction.

myself in this band and make the music I wanna make.

In light of current events do you have plans to make Do you feel the music changes from playing the tracks

the most of things and get together and write lots of

live to the final recorded versions?

new music?

J: Yeah, we always play songs live a load first and they’re

J: I have… I’ve been writing literally a song a day haha,

always changing… I think ‘Call Me Sentimental’ was the

haven’t done any uni work. But it’s like, maybe of the 30

only one that we had fully planned out before recording.

or so quarantine songs I’ll write, one of them will end up being a Norman track.

Words and illustration by Cameron JL West

46

U-Bahn Perhaps surprisingly, U-Bahn’s press release begins

They later recruited Guitarist Leland Buckle, Bassist

with a quote from Black Flag’s Henry Rollins extolling

Jordan Oakley and Percussionist Mitchel Campleman

the brilliance of the band. As he notes: “U-Bahn are

into their sect, with their first LP consisting of Demos,

absolutely fans of Devo but not only are they really good

the-then-nineteen-year-old Kenny, recorded on their own,

at it, they’re just really good”. Moving past the initial

prior to meeting what would later become U-Bahn.

shock of Rollins actually enjoying anything other than testosterone, he makes a good point. Whilst the band

What led you to form a band? A particular happening

certainly wear their influences (think DEVO with a lick

or mutual love for a record or sound?

of Brian Eno) heavily on their sleeve, there is enough original thought involved to allow the band recognition as

Once we began to spend more time together as a group, it

more than the sum of their inspiration.

became very evident that there was a very unique artistic chemistry between all five members - All sharing similar

2019’s eponymous album is a bombastic adventure in

ambitions, hoping to create a challenging, well thought

organised sound, as pop synths and Melbourne sunshine

out experimental project with heavy emphasis on curated

bleed into krautrock chugging, with light-hearted social

visual aesthetics - yet, maintaining an undeniable pop

commentary taking centre-stage on tracks like ‘Right

appeal

Swipe’ (a narrative tale of your everyday Tinder bandit).

Although U-Bahn may consider themselves nothing more

Can you tell us something that you collectively really

than ‘neurotic music nerds’ concerned with taking their art

love?

seriously, the fact remains that their music is just so fun.

Their detractors may have an easy time in pegging them

Gordon Ramsay

as another in the long line of people who’ve listened to too much Kraftwerk, but when experiencing the euphoria

Can you tell us something that you collectively hate?

found on numbers like ‘Turbulent Love’, it’s equally easy to tell those detractors to either lighten-up or fuck off.

Friends. That show is just the worst, change our minds.

Having our access limited by the pitfalls of an 11 hour

Can you tell us the story behind one of your songs?

time difference, we sent a set of questions over to the Melbourne 5-piece, in an attempt to scratch the surface of

The lyrics from the track ‘Unlucky Draw’ originated

one of the most joyfully captivating bands on the planet.

from a poem Lachlan wrote about three years ago called ‘Phantom Steps’, which was somewhat of

How did you find each other?

an autobiographical poem, detailing an individuals burgeoning anxieties living with obsessive compulsive

U-Bahn came about by luck, when the group’s two

disorder in a world so dictated by time constraints and

‘Synthists’ Zoe Monk and Lachlan Kenny met when

the inevitable necessity of financial stability. A reality

Monk purchased a vintage Drum Machine from Kenny in

that would reduce anyone to a bumbling mess of nervous

December of 2017. The two immediately formed a strong

energy.

bond over analogue synthesis and shared musical and artistic philosophies.

Words by Dan Pare, illustration by Ian Moore

48

Artists

Josh Whettingsteel Tomo Campbell Katie Benn

Editors Sam Ford

Josh Whettingsteel

Writers Al Mills

Harley Cassidy

Rhys Buchanan

Josh Whettingsteel Dan Pare

Eleanor Philpot Ross Jones Sam Ford

Cameron JL West

Printed By Ex Why Zed

Email

info@soyoungmagazine.com

Website

www.soyoungmagazine.com

News

@soyoungmagazine (Twitter)

SoYoungMagazine (Facebook) soyoungmagazine (Instagram)

Maria Contreras Aravana B.D. Graft

Michael Taylor

Otto Hodgkinson Marco Pini

Philip Lindeman Ramon Keimig

Laylah Amarchih REN

Cameron JL West Ian Moore

Cover Photos Tom Van Huisstede

Photos for Collage Brooke Rutner

Holly Whitaker

Callum O’Driscoll

Tom Van Huisstede

Art Direction

www.joshwhettingsteel.com

Special Thanks Jamie Ford Ross Jones

Cameron JL West Kai Fennell