Issue Twenty-Four
PVA The Magic Gang Rosie Alena Porridge Radio The Orielles Disq Scalping Orlando Weeks Legss The Goa Express Baxter Dury Hotel Lux
Michael Taylor, ‘The Mantis Jamboree’ Mixed Media on Paper
The new year has taken its grasp, and 2020 promises at the very least, six magazines from us at So Young. We first spoke to The Magic Gang back in Issue Five and we’ve caught up regularly ever since. 2018 saw the band release their debut album and wave goodbye to a lifetime of work. Two years on, the band have released their first single from the upcoming second album and you’ll find them on the cover. We give Kristian and Jack a call to talk ‘Think’ and bringing in the horns. There aren’t many bands who excite us more than PVA right now. The London group have been moving growing crowds with their brand of band led dance music. They took our call as we sought a thorough introduction into their world. Staying in the capital, Baxter Dury talks us through his progression from spoken word to delusionally urban and Hotel Lux take a break from writing dissertations to give us an insight into their upcoming debut EP.
Porridge Radio’s DIY slog has reaped the reward of a
record deal with Secretly Canadian. As they prepare to
release their second album, we touch base to talk about
emotional landscapes and arguing to avoid boredom. Last year teased singles from some of 2020’s most exciting
bands and we got in touch to add some detail. You’ll find
chats with Rosie Alena, Disq and Legss, all of whom you should plan to see right away. In Manchester, The Goa
Express are causing a stir. After years together in Burnley and Todmorden, the band are breaking out and we catch up to find out what we should expect and try to expose
their stickiest situations. Bristol’s Scalping are looking
to exploit the subculture grey areas. In a time where the
most exciting artists are combining dance music with live performance, it was vital that we got in touch. In Halifax, The Orielles are preparing to release their second album ‘Disco Volador’ and we spoke to the whole band about
frisbees, imaginary friends and space. In the first of our
artist series, we talk influences, postcards and more with
songwriter, illustrator and collage artist, Orlando Weeks.
3 Porridge Radio Sweet
21 Scalping Ruptured
8 Disq Daily Routine
25 Hotel Lux Tabloid Newspaper
9 Rosie Alena Mixed Messages
30 The Goa Express The Day
11 Legss Writhing Comedy
33 The Orielles Space Samba
13 The Magic Gang Think
38 Baxter Dury Slumlord
17 PVA Divine Intervention
41 Orlando Weeks So Young: Artist Series
Porridge Radio “You will like me when you meet me” is the assured yet
Yeah in Sam’s village where he grew up, it’s his dad’s
accurate lyric from Porridge Radio’s songwriter, vocalist,
shed which already had a drum kit. Sam already played in
guitarist (and painter) Dana Margolin. We had the pleasure
bands, so he had an 8-track and a bunch of shit. We said
of chatting about their upcoming second album.
let’s record an album because we’ve got so many songs. We had no idea what the fuck we wanted to sound like. I
Let’s start with the usual stuff, when did you decide
wish I could go back with what I know now. But I guess
you wanted to be in a band and how did you all meet?
that’s the whole point.
I met the right people by coincidence at the same time as
Oh, the joys of finding your sound, did the experience
deciding I wanted to be in a band. I started playing the
help to bond you together quickly?
guitar on my own when I was 18, then I sent demos to Georgie who plays keys and Josh who manages us because
Definitely. We’ve got an unfinished, unreleased
they were two of my good friends at the time. I met Sam
documentary that Josh made during recording. It’s got
and Maddie by chance; Maddie through mutual friends
videos like me watering shrubs in Sam’s mum’s garden.
and Sam through a Facebook post.
I also had the worst haircut ever, a blonde bowl cut. The stupidest mini-documentary, I’ll make sure it gets finished
It formed quite easily then, but is it fair to say it stems
at some point.
from your bedroom songwriting? If we skip forward a couple of years, you’ve signed to I never thought of myself as a singer-songwriter, but I
Secretly Canadian. Did you find it different recording
guess I am. I had this friend who took me to some open
with a label?
mic nights with him, then I started doing them on my own. It all sort of happened and I thought okay I guess this is
We started recording the new songs before any label or
what I’m doing now. Although, I did always think this
signing, so we kind of already decided what we wanted it
would be better if it was louder.
to be. But recording and mixing professionally made a big difference, pushing us to be the best we could. I love how
You guys are pretty much the definition of a DIY band.
it turned out, I’m proud of what we did, you can hear how
Your first demos were recorded in a garden-shed right?
much we’ve grown.
3
Words by Phoebe Scott, illustration by Adrian Forrow
The title ‘Every Bad’, is that alluding to a tube
Lots of genres, but a few themes keep it all linked. A
journey? A hair day? An argument?
key one being the beach, what’s your connection to the sea?
I guess it’s open to interpretation. Making this album took a long time with a hundred obstacles, but it doesn’t sound
When writing those songs, I lived in Brighton and
that way. With ‘Every Bad’ there’s a sense of every cloud
whenever I got sad, I would go to the sea. If it wasn’t
has a silver lining. It’s hopeful because it’s unfinished, I
freezing or going to drown me, I’d get in and swim. It’s
wanted to leave space for other people to put their lives
so beautiful, endless and terrifying. For years I’ve used
into it.
it as a place to deal with mental health shit or to have fun with friends or to just try and catch sight of on my way to
The album starts with ‘Born Confused’ with first lyric
work, that kind of thing.
“I’m bored to death let’s argue”. What’s the worst argument you’ve started because you were bored?
Touching on mental health, your vulnerability is another visible theme. Is it important for you to be
A good question, it’s caught me off guard. I wish I could
open in your music?
remember anything that’s happened. I always start stupid arguments when I’m bored, bringing up things which have
I’ve always tried to be honest when I write. I wanted the
been laid to rest and it gets petty and shit. Don’t let me get
band to be a space to be vulnerable. I still struggle with
bored.
being open, but music is the way I feel most comfortable. I love performing in front of an audience because you can
You jump emotions a lot in the album. The melancholic
portray this version of yourself that makes people stop to
‘Pop Song’ straight into confident ‘Give / Take’, did
question how they feel.
you deliberately try to drag the listener into these moods?
Lastly, if Porridge Radio was a real station what would you play to represent you?
I guess that’s the emotional landscape I’m trying to portray, going from calm to intense and back again. I love
For me, it’s different than if the whole band was sitting
how the track-listing came out in the end, we deliberated
here. Think I’d choose Blink 182 – ‘Dammit’, Caroline
and swapped things so much.
Polachek and ooh I don’t know there’s so many. Cat Power - ‘Rockets’ that’s a great song. I could make a playlist for
These juxtapositions run throughout, some songs sound
days. Maybe Guns N’ Roses too!
so indie-pop then into post-punk and even almost numetal in some parts… I love that you said this because Sam, the main person I arrange my songs with, listened to a lot of nu-metal growing up and his drumming is really informed by the genre. Last year I mainly listened to a lot of sad women or weird pop music. Meanwhile, Sam’s only listened to intense metal. That’s one of the best things about collaborating with people, everybody is being informed by different genres then when you get together it’s like oh shit how did we end up with this.
5
Porridge Radio
www.aaaaabang.com
Disq After the release of their double A-side ‘Communication/
New single ‘Daily Routine’ opens up the album - what
Parallel’ a few months back, Wisconsin-based rockers
about that track helped you come to that decision?
Disq roll into town with their latest single ‘Daily Routine’ and news of their debut record ‘Collector’ in tow. We
That decision was taken super early and was always gonna
catch up with Raina from the band on a blustery January
be the first song on the record. It wasn’t a hard decision
morning to get an insight into their sound and their plans
to make. Everybody across the board – in the band, at the
for 2020 and beyond.
label – agreed with that decision. Sonically we feel as though it sets the tone for the record, as well as content
So you’re in the UK for a short run of shows at The
wise with the lyrics setting everything up nicely. Plus we
Old Blue Last and The Lexington - are you excited to
always open up with that song live so it just felt right.
get yourselves in front of a British audience? With the record itself it’s been compiled from a host of Oh super excited. We love the Brits! We have close
differing demos and ideas spread out across time. That
relationships with a lot of Brits and ever since we started
helps it come across as more of a mixtape or a rock ‘n’
people have always said that we would do better in the UK
roll scrapbook...
than we do in America… Totally it came together organically. That sort of So cats out of the bag, there’s a date set - 6th March -
scrapbook narrative only came together as the album was
‘Collector’ comes out. How does it feel to finally have it
finished, but it somehow just worked and made sense
set in stone and ready to come out into the world?
which is great.
It feels very very good. The album has been in the works
Musically you’re described as an indie-band, but you
for a while. Some of the songs on it me and Isaac started
seem to venture through various sub-genres between
working on probably when I was like a freshman in high
that. Was that a choice of the band as a whole or from
school. We’re really excited to put it out and super happy
certain individuals?
with it. Plus, we really love Saddle Creek so we’re super stoked to have it out with them. They’re wonderful.
I think it’s definitely a collective thing within the band. We all listen to a lot of different types of music, but
What about Saddle Creek is so wonderful that made
similar between the different members. I don’t think it was
you choose them above other suitors?
necessarily a conscious choice, but it did feel quite natural to have an array of different styles and influences.
I mean wow where to start. Even if now I had my pick of labels, it would be hard for me to pick anyone besides
Lyrically as a band you seem to tackle things head on...
Saddle Creek. We had just done a 7” with them (previous single ‘Communication’) and it was just such a wonderful
Again it does feel like a very natural thing to us - drawing
experience. They’re so great to work with and they’re so
from personal experience. Things might change over time,
kind! It’s just the best label. Not to mention that we love
but yeah the songs are pretty personal. The album is a
so many of their artists.
collection of personal experiences that most of us have gone through.
Words by Matt Bisgrove, illustration by Cépé
8
Rosie Alena You may catch Rosie Alena in familiar company but she’s
Brad booked me for the festival and from there we got
doing something entirely different. Delicate debut single
talking. I already had music recorded, mixed and had
‘Mixed Messages’ (which features members of black midi)
planned to put ‘Mixed Messages’ out independently
has not only showed those paying attention an impressive
anyway. So it was all perfect timing really and releasing
vocal capability, but that the cross genre sounds of London
through Strong Island gave me the boost I needed.
don’t have to be abrasive to be exciting. Ahead of an evening which sees Rosie play two shows in one night for
You’re rising through a world of guitar bands, is this
Independent Venue Week, we sent over some questions to
where you’d place your music or do you have other
add some detail to what we already know.
intentions?
Hi Rosie, how are you doing? What have you been
I mean I guess yes, in the literal sense, my set up at the
doing since you released your single ‘Mixed Messages’?
moment would equate to the ‘guitar band’ definition. But to be honest I’ve never thought of it like that! I think
Hello hello, I’m wonderful thanks. I’ve been doing rather
probably because although the guitar parts in my songs
a lot to be honest! Putting your first single out is pretty
are so important (and of course beautifully played by my
crazy I must say. I had my single launch back in December
lovely guitarists) my voice and songwriting are the main
at Rye Wax, Peckham which was the first headline show
focal point. I don’t think my songs fit only with guitars
I’ve organised myself. There was a lot of work leading
either; I definitely see myself experimenting with other
up to it but it was so worth it. Ended up being super busy
instruments and arrangements in the future.
which was amazing. I had some of my friends playing and DJing on the night - lots of fun! I’ve also been gigging
‘Mixed Messages’ is expansive and alludes to a feeling
more than ever, organising future gigs, planning future
of escape, is this what we can expect from future
releases, writing, recording whilst juggling that with the
releases and is there a certain feeling you’d like to
pressures of being a 3rd year university student... Other
create for your audience?
than that, it was Christmas, New Year and I turned 21! Like for many other artists, writing is extremely You released the track with Strong Island Records who
therapeutic and helps me release any worries or tension
are based on the South Coast, how did that relationship
I may have. Therefore, it’s only natural that this
come about?
‘feeling of escape’ would be insinuated. I tend to write introspectively but knowing people can relate to my songs
Yes I did indeed! So I was introduced to Brad Sked (label
in one way or another helps to realise the universality of a
manager) via a mutual friend Holly Mullineaux (bassist
feeling I once thought only I felt. Although I do think this
from Goat Girl). At the beginning of last year I asked
feeling is consistent throughout the rest of my songs, they
Holly if she recommended any good festivals for me to
are eclectic in the genre sense. Each song derives from
play that following summer and she told me about this
a different style. For example I was added to the Folk
great not for profit festival called Dials Festival that’s put
Rising playlist on Tidal. And although I would say ‘Mixed
on annually in numerous pubs and venues in Portsmouth.
Messages’ does fit into that category, I wouldn’t say I was
Brad and Strong Island Recordings are heavily involved in
a ‘folk artist’.
the running of Dials.
9
Words by Sam Ford, illustration by Laylah Amarchih
There are few discussions in life where doubling the
Jake: It’s a recent development. We’ve got the music,
letter ‘S’ fails to bring stressed satisfaction. Happiness
Ned’s a great poet so we try and push the spoken word and
is one, badass-necessary but more pressingly, London’ss
incorporate the sound design element.
Legss. This is a band who see the artistic-accessibility in language and roll with it incessantly. “Smooth as a goose’s
Ned: For ages we thought about a fifth member- a
neck” – Louis Grace, 2020.
keyboardist or synth but, Louis got an SPD which means we can keep things traditionally guitar based whilst
**our interview was interrupted by a friendly old lady
incorporating layers.
whom it would be rude not to thank for warming up this Working with Luke Kulukundis (Gong) must’ve given
feature.
you this whole psych influence which kinda feeds Louis: That worked quite well because a lot of our music
‘difficult listening’...
incorporates ‘found-conversations’... Max: That’s the thing, we’re always trying to challenge Ned: We’ve got a new track called ‘Five Live’. Back home
whilst finding a balance. It’s easy to replicate a sound
in Liverpool, there’s a great bookshop populated only by
we’ve listened to throughout our lives but, that’s in the
old men who come for a chat and don’t buy anything. This
past. You don’t wanna do something that’s rehashed.
old guy was talking about his daily routine so I recorded it, Louis spliced it up and it formed the intro.
11
Words by Al Mills, illustration by Josh Whettingsteel
Legss Ned: It’s not deliberate, just how the songs play out. We’re
Ned’s words are a really important part of our sound, we
in this post-modern state where songs are created out of
completely stand behind them- it’s who we are as a group.
pastiche, the metropolis infects everything you do. We’re trying to ridicule the cliché of modern living but, you’ve
How’s the reception been?
also got to talk about it. We’re not trained musicians so we work within our means.
Louis: It’s been well exciting. Our book launch at The Windmill was sold out and, just having bands we really
Your book ‘Good News Horse’ feeds that too, ironically
appreciate there with us, it gets me excited.
requiring people to sit down and break from today’s chaos. It’s not a second ep, it’s a body of work in its
Ned: We’ve realised our friends can’t dance!
own right that fights the need for instant access... Jake: We’re looking forward to being challenged and Louis: That was the motive. It’s accessible too, quite
pushed, playing in cities to people who’ve not heard of us
protagonist and close to home for a lot of people but
so we’re not resting on our laurels.
forces you to hone in on the irony and lyrics. Louis: We’ve got no laurels yet to rest on anyway. Max: I’m really glad we did it. It justified that we’re definitely a part of a lyrical tendency but trying to stand out as well.
www.joshwhettingsteel.com
12
The Magic Gang As far as returns go, you won’t find one much stronger
Jack: Our mission statement with this one was to try and
of late than that of The Magic Gang. With ‘Think’ - the
be a little bit more honest when it came to the lyrics.
blushing first single taken from their much anticipated
With the first record it felt like we were following pop
second record - Kris, Jack, Paeris and Gus reminded
sensibilities, a lot of the music we listened to was straight
everyone what made everyone fall in love with them,
forward pop from the 60s and 70s, so lyrically everything
timeless pop discernment, breathless harmonic fortitude
led towards that sort of romantic sentiment. Which I
and undeniable charm. While retaining everything that
still absolutely love and there is nothing wrong with
allowed them to establish themselves, their second record
brilliant love songs, however with this album we wanted
possesses such growth in arrangement, musicianship and
to flex another muscle and try and write a little bit more
broadened taste that they sound like a group just relishing
autobiographically - more directly about our own lives and
the opportunity to build on their catalogue.
what we’ve been up to today. In a way I would think that would make it a bit more relatable, cause we are writing
Your first record was a culmination of years of
about stuff that is well and truly on the ground rather than
tinkering and crafting your sound - I imagine this time
more universal sentiments of love.
around it almost felt like a focused creative spurt in comparison?
That’s interesting, because I feel sentimentality is such a core part of what appeals about your music - yet
Jack: Yeah, with the second album you definitely get the
what I’ve also always engaged with as well is its laconic
feeling that you are writing something, that you go away
directness. Is it important for you to be able to find
to write an album. So compared to the first one, where you
a balance of wearing your heart on your sleeve and
just spend a few years being in a band with your mates
allowing the listener to have their own interpretation?
and you record the best songs you have, this definitely felt like it was time to go away and write, see what we could
Jack: You’ve always got to be really wary of that,
come up with. So it feels like more of a concise project
because some of the best lyrics in the world are the ones
just in that sense. It’s really nice to be able to catalogue
that remain open to some extent and can be interpreted,
a piece of work like that, it makes it easier to understand
and I think the biggest mistake you can make is telling
the album when you are in one headspace while you are
people what your lyrics are about too much. I think there
writing it.
is a beauty to writing a line or a sentence that can be interpreted in many different ways.
Was there anything in particular that you set out to achieve with the new record, both musically and as a
Kris: Even though the first album was quite direct
group?
lyrically and quite tangible - in hindsight it also does have an air of vagueness to it. But with this one, lyrically it’s
Kris: I would say we wanted to do something different
specifically about certain things, what those things are
from the first album, I think we tried to make it more
aren’t just about relationships with people. I think what
concise, I think we wanted to try and be quite disciplined
we’ve done with this one is a lot more atmospheric and
with the length of the record, just making sure it was still
it’s not as obvious what everything is about, but I think
quite lean in a way. I think we’ve achieved that.
that’s in a good way. There is an opportunity to consider the lyrics a bit more and realise it’s not just a love song.
13
Words by Ross Jones, illustration by Mariana Malhão
Do you feel it’s important for acts to make grand
It’s about trying to make what’s best for the song.
statements in the way they change their sound from album to album or project to project?
Jack: With the horns, a part of me was thinking “God why didn’t we put this sort of arrangement on the first record”
Kris: The thing with that is you can’t be massively in
or “why haven’t we tried this before?” but then another
control of what people will think about it in that way, so
part of me is thankful we haven’t because It’s nice to use
you have to express it in a way that makes sense to you.
something that you haven’t overused until now. It was one
There’s a lot of areas on this album that are a lot more
of those things where you want to show your development,
self-aware than what we’ve done before, and that’s quite
your experimentation, but you don’t want to go off the
exciting. I think a lot of people might be surprised by
rails with what it is that you like about being in a band and
some of the feelings or sentiments, and it’s something that
what you do.
we’ve arrived at organically over a few years. I’ve always felt your music possesses this timeless Jack: I think there’s a danger in people trying to
authenticity - no doubt from your knack at writing not
drastically change their sound - I think you have to remain
only melodically but empathetically also. Where do you
anchored in what it was that made people like what you’ve
feel your music stands in the hyper rushed nature of
done before, or what you liked about it, recognise it and
modern life?
keep that sensibility. However, I do also think that if I listen to someone’s second album, I expect it to be a step
Kris: I think, for me personally, I have to try not to think
up or to have developed in some way. So I think there is
about stuff like that because it’s insane, it makes you feel
an important balance between keeping the essence of what
paralysed when you want to make music. I really hope we
makes the band good, or what made the last album special
have our own lane so that we’re not comparing ourselves
but then not repeating yourself for the sake of retaining
directly to someone else. I feel like the more you let
that or to get the same response again.
outside influences inside the process, I’ve never often found that that’s been conducive to making good music,
‘Think’ is a fantastic statement of a first single - a
dwelling on that can be a big hindrance to people making
notable change that still possesses the famous Magic
their own music.
Gang melody so to speak - it’s quite immediate isn’t it? Jack: I think it’s really important to have some sense of Kris: It’s probably quite immediate cause it was written
humanity and positivity in anything you are going to put
quite quickly, so I imagine it feels instinctive. It is typical
out. Even on a very basic level, the fact there is positivity
in the sense of it has a big chorus, it’s just with this song
in what we’re doing, that’s quite important to us. It’s not
it’s a lot darker in places. It digs a lot deeper into our
something we talk about a lot, but I think underneath the
influences and it’s a bit more minor, the verses are a
surface that is there. We do feel proud and happy, there
bit moodier, and it was quite exciting to hear ourselves
is a positive message to the music. We do feel over the
actually conveying a tangible mood in a song.
moon that people come to our shows to dance, to have a good time and to meet future best friends. It’s the kind of
With the instrumentation as well, the brass involved
thing where when you are touring for a long time - you
feels like something we weren’t expecting but now
don’t take it for granted but you forget that it’s there -
can’t be without - did it just feel right to broaden your
the minute you stop doing it and you have a moment to
sound in this way?
reflect like we have done for the past year, then you feel incredibly proud that that’s what people do at your shows.
Kris: Again I personally love really grandiose music, so
I don’t know how that falls in line with the rest of the
to have the opportunity to have horns on the record was
world, but the fact this little thing that we’re brewing is
really exciting for me. There are some strings on there too,
being construed as positive is important to us.
some quartet stuff, some more keyboards.
15
The Magic Gang
I’ve found that even in my darkest times with my mental health, I’ve always found a bit of escapism in going out and just dancing
PVA have stuck out like an exotic blast of energy on
You mentioned the urge to do something different - do
London’s DIY scene with their elegant, danceable live
you think that’s why it’s struck more of a chord?
performances. This isn’t easily done with their immediate peers creating equally convincing (though dramatically
We never necessarily set out to make something different
different) music - with names like Squid, Black Country
- we wanted to make something that we really enjoyed
New Road and Lazarus Kane all sharing similar stages at
and people responded to. It’s basically about taking our
present.
inspiration points from different genres and building on that. We take inspiration from some guitar music - like
It’s somewhat fitting then that as we dial vocalist Ella
Josh and Louis were really into psych-rock and strains
Harris - she picks up from The Old Blue Last at a show
of guitar music - so I guess it’s about building on those
with fellow Speedy Wunderground debutants Tiña. She
and moving forward, then creating something new and
fights her way through blaring Abba music to find a quiet
different.
space outside before we’ve got a clear enough line to get stuck into conversation. With a massive buzz and little
I’m seeing that with a lot of acts at the moment and I
recorded material available - there’s no shortage of things
think the idea of genre boundaries are being expanded.
to talk about.
People are taking elements of different stuff and building on that. Like Scalping, Working Men’s Club, Squid,
Tell us a bit about the original vision for PVA?
Black Country, everyone seems to be taking this idea of guitar music or electronic music and then adding bits,
It started as quite a bedroom project for me and Josh. We
taking bits away and then creating something new. It’s
wanted to play some music together - we’d met a couple
a new experimental, dancey, post-punk scene, it’s really
of times before and we had the same taste and ideas. We
interesting and really exciting to be a part of.
wanted to make something a bit more party-electronic based. Josh and Louis both had played in a psych-rock
I guess the common denominator there is a sense of
band before and I’d played in a slower folky band. So we
conviction in the output. How conscious were you of
all had an urge to make something different - Josh made
getting your first single perfect?
some demos and I listened to them and was blown away. We started from there and didn’t think anyone would
We’d been trying for a long time to get something out
respond to it - then it got to the point where we were
but every single time we got a mix of a track it wasn’t
starting to get some bigger shows so we got Louis on
quite there. They all sounded very good but it just didn’t
board. Then the last year and a half has been spent crafting
capture the energy of the live show. We were getting
this set and getting it to where it is now.
these amazing responses to the live show but then it felt a bit flat on track. It didn’t have that energy and the visceral emotion on the track. We were really starting to experiment with live drums and were starting to write new songs - then Dan Carey came along and offered this way of recording which meant we could take this summer of refining and reworking songs and capture that onto a recording. It felt like the perfect time really. Photo by Holly Whitaker
He discovers bands in quite a raw capacity just by
Obviously Speedy Wunderground demand efficiency in
going out to shows and approaching bands - was that
the studio - do you feel like that brought out the best
the case for you?
in you?
Yes, Dan saw us at the Bunker actually - Lottie from
Yes - I think recording with Dan is a really interesting
Goat Girl puts on these nights there every month so Dan
experience but I also find it quite terrifying at the same
saw us there as a two-piece a while back. Then over the
time as well. We did three takes with lasers and smoke
summer we got busier and started playing all of these
machines as well, it was really intense but it really
festivals - then he came to watch us at Green Man on the
captured an energy.
recommendation of Ollie from Squid actually. So he said he really liked us and we just got on with him, we seemed
When you play a song live in front of an audience you’ve
to share key ideas about electronic and dance music. It
only got one take really - you’re playing it and you’re
was the idea of experience over perfection in recording,
playing it to the best of your ability, so it’s nice to have
more about capturing emotion on tracks rather than
that pressure when you record. Your putting in energy,
making these high-projection tracks. So we spoke to him
passion and really delivering the vocals in the way you
for a bit and then he said he wanted to get us in the studio.
intend for someone to hear them. It was a really fun
Once we met him properly it was about a month or two
process and I think it was the most appropriate for us
turnaround before the single was recorded.
being such a live band.
19
Words by Rhys Buchanan, illustration by Josh Whettingsteel
You’re in such a healthy sphere of bands right now -
It sounds stupid but we’re just going to keep making
were you ever concerned about it being saturated?
music that we’re really happy with because that’s why we got to this point. That’s all we can do now in response.
I feel like we’re really fortunate to be surrounded by so
We’ve got a brilliant management team behind us as well
many amazing musicians. I feel like I’m constantly being
which has really helped - that means we can just focus on
inspired because of the amount of incredible music in
the music. We’ve just been rehearsing loads now. We’ve
London, Bristol, Manchester, Brighton and beyond. I’m
been making the best set possible for 2020.
seeing so many innovative young musicians just making something new and forging a new future for music. I never
I guess you have a natural support network of bands
feel like there’s a saturation because everything is so fresh
as well?
and so new and so exciting to watch. I feel like we’re all bouncing off of each other a bit. We always go and see
One of the best things about this is I’ll meet a band
people as a band and are so excited to get back into the
that I adore and then we become friends because we all
studio and write. After festivals especially we all want to
have similar tastes and interests. It’s been such a lovely
get back and get stuff down on paper.
experience. It’s also nice because you see your friends doing well, it’s a real moment of pride when a friend’s
Even though ‘Divine Intervention’ is very accessible
band is doing well. It feels like such a supportive scene at
musically - there’s darkness in there - is that from an
the moment. There’s no competitiveness at all - it’s just
internal place?
this aura of everyone supporting everyone. I love it at the moment, everyone just cuddles each other and is super
Yeah definitely. ‘Divine Intervention’ is very much an ode
supportive. 2020 is the year where everyone looks out for
to falling in love with living again. It’s about experiencing
each other, talking about their feelings, we’re nearly at
life again because there have been points in my life
world war three, there’s no room for negativity.
where I’ve been very lost in the past. I’ve been stuck in a moment or a memory that I can’t get out of. This song is
Lastly, what are your expectations for this project? Is
about an external force pulling you out of that and getting
there a focus on momentum?
out. I wouldn’t ever want to sing that song to a slow melancholic melody because I don’t think that would be
We’ve just been trying to see the next year as an exciting
an appropriate way of presenting those lyrics. I think those
position that we could be in. It’s all about small little
lyrics are about the idea of recovering and healing so the
goals, we’re going to release two more singles before
most appropriate way of putting that across are with this
summer and so that’s a big focus at the moment, we
upbeat uptempo song. I’ve found that even in my darkest
want them to be the best possible follow-ups to ‘Divine
times with my mental health, I’ve always found a bit of
Intervention’. Then we want to craft a set we can really
escapism in going out and just dancing. You get lost in
be proud of. We’re living in the moment and don’t want
the music and we’ve all had our best experiences to dance
to be living in the future too much. We don’t want to be
music and forgetting about everything. Except for the
so driven on trying to get further and further, we want to
Abba at The Old Blue Last - that’s not a vibe at all.
enjoy ourselves while we’re here.
You’ve been thrown into a bit of limelight - there’s a lot of talk about the band at the moment. How does that feel? It’s weird. The single came out just before Christmas and we thought it did really well. Then it’s just gone crazy, we’ve had a brilliant response. We’ve just gone back into ourselves and said how do we deal with this?
www.joshwhettingsteel.com
20
ng Scalping, on immediate introduction, are one of the most
but that is the most unexplored portion of music at the
visceral and uncompromising live acts you will see today.
moment. They are these two very different subcultures that
Yet as you spend more time with this group, the intrinsic
exist, where the space in the middle hasn’t been explored
detail and unwavering creativity they feed into this
that much. It’s making sure we can constantly push it and
multi-faceted project leads you into a wormhole of trance-
pull it and drag it between these two worlds and go “well
inducing engrossment. James, Alex, Isaac, Jamie and
that’s Scalping”.
Jason introduce us to pure, unquestionable escapism. Isaac: I think it’s the presentation as well, the extremity of Have you been able to comprehend not only being
it that comes across in a live performance and the energy,
able to finally release music to an audience but also
because that is a timeless thing. Having a new face for
acknowledge the acclaim and anticipation for you that
that energy to wear plays a really big part. One of the
has stemmed from doing so?
most relevant things in terms of the timing of it is the visual aspect - because it’s at a point where technology
James R: This is the first time I’ve ever made music
is growing and we’re privileged that we’ve got Jason on
knowing people might actually listen to it. I think for us
board who’s constantly at the front of this growing beast.
the primary thing is it’s been hilarious, because it’s only ever been an extension of us being massive nerds, trying
The visuals certainly are a pivotal core of the project’s
to make something that we’ve always longed for that
identity, were they a necessity to employ from the
hasn’t existed. So it’s just funny, just seeing people react
beginning?
to it, it’s very surprising. Jason B: My perspective would be, most bands have a So with that in mind it’s perhaps strange to consider,
front person, this band doesn’t have a singer, or anybody
but is it the right time for this sort of music?
good looking. So it needs a focus point on-stage, and I feel like without a singer the visuals can take that on.
Alex: This is the thing, we’ve been in much more commercial sounding bands like this in the past, that’ve
A: I think it comes back to not wanting to be defined, if
seen absolutely no success whatsoever.
we were standing there playing our songs we’d just be a rock band that sounds a bit dancey. Having the visuals has
JR: I think it is the right time, because I think there is still a massive portion of music that hasn’t been made by heavily combining electronics and live instrumentation. Obviously there’s loads of people that have done it,
people asking “what are they doing?”.
It adds to the allure doesn’t it?
With more time and understanding it really becomes a meticulous and considered piece. That surprising
JR: Having that place where you can find actual escapism
subtlety is obviously something that you desired to
instead of this facade of getting involved in lyrics and
find?
messages. I don’t make music to exist in the real world, I make music to get away from shit. I want this to be the
I: You need the comparison of extremes don’t you?
all-enveloping sensation.
Something only sounds as heavy as it does when you’ve got the subtlety to compare it to. It’s all about the way it
Obviously first and foremost, this is a colossally loud,
builds and develops, and if we can convey that then that’s
uncompromising project - does that represent a very
the sweet spot.
physical sense of expression for you? J: Part of the limitation that comes with working with live I: I think the physicality of it is a by-product of how the
instruments means that we have sections and songs, that’s
music we’ve made makes us feel, live it naturally projects
why it sounds like that - it’s not as improvised because
itself in a certain way. All music is inherently expressive,
we’re not from that background and also because there’s
our music is heavy and loud so that gives it the physical
four of us. You don’t see something like Giant Swan in a
aspect.
band and everyones got a table of electronics - it’s not like that, we have to be able to respond with each other.
JR: Also we’ve arranged this set and the way we play it to accomodate for the fact that we don’t actually always get
As the project develops and you learn more about what
to play loud enough. We’d be much better if we had the
this project will become, what would you like people to
guarantee of that volume and be able to play much more
take from it?
intricately, for much longer and be more psychedelic, but because the way it’s written and arranged, the whole
J: It’s not like it’s a massive, complicated message that
thing is very intentionally made loud. Actually what we
we’re trying to convey and the only reason why we even
think we’d much rather be doing is be much more intricate
think like this is from experiencing so many amazing
with everything, but the problem is we don’t have that
Bristol line-ups, like Howling Owl and Young Echo. It’s
guarantee every time at all.
breaking down those boundaries of when you go on a night out, why aren’t there bands playing dance music
A: But in terms of it being an expression, we’re all very
and why aren’t there DJs playing bands, why aren’t we all
nice, calm people - none of us are angry, so I don’t know
doing parties together, why isn’t it on big sound systems
if it’s an outlet for that, I don’t really believe in that.
and why isn’t it really fucking loud?
Words by Ross Jones, design by Josh Whettingsteel, photos by Mariana Sabio
2 0 2 0
HOTEL LUX Hotel Lux are a gang born out of today’s strange times and
How’ve you found the process generally?
of whom are set to command the new decade with mindful impress. Working between the pantomimed lines of entity,
Very long. The initial recording session we did was over a
mundane and seamless satire, their debut EP ‘Barstool
year ago. Our songs tend to come in pairs so we’ve been
Preaching’ (via Nice Swan Records) projects confidently
playing them for ages. It feels really weird that when the
restless on societally luxated limbs and, acts as a soon
EP comes out, they’ll be viewed as new songs…they’re
to be discovered motive for all of us crafting our way
old to us. We’ve got 16 days straight for our first tour
through routinely lyricised living.
which sounds like an incredible opportunity for things to go wrong but I’m excited. We sent out the offers for
Calling-out on expectations, we spoke with frontman
support, part of the process of picking was just inviting
Lewis Duffin on what it takes to just simply make things
the bands we love.
work. Prop yourself up and embrace the direct- it’s not all In the track ‘Charades’ you wrote the line “Sometimes
gone to total shit yet.
I forget the people I meet, are not the people for Lewis: I’ve been reading a lot of new journalism, it links
me”- you’re thrown into these situations where you’re
to my dissertation. A lot of Lester Bangs.
actively meeting a lot of people. It all sorta becomes this great performance within a performance...
There’s a great quote by (him) where he speaks of “penetration, breaking through to the other side”- not
The music industry is that. Maybe that sounds a bit
being afraid to ask a lot of why’s. It reminded me of the
grandeurs... meeting people in bands can be like that.
approach Hotel Lux has to their songwriting, you’re not afraid to call out and question.
Right! And there’s this real pressure to constantly be switched on, being actively involved and going out and
Yeah, definitely. In ‘Tabloid (Newspaper)’ lyrically, it’s
interacting too...
almost a criticism of my writing process. An essence of self-awareness is important in any sense- it’s more a dig at myself than taking the piss of anyone else. It’s funny, people took it as a real important take on tabloid newspapers when it wasn’t at all.
25
Words by Al Mills, illustration by Daisy Link
Peaky Blinders...
Yeah completely. Weighing it up, 16 days on tour. Does that mean 16 days of drinking straight? No it shouldn’t be but at the same time, it’s so hard not to. When bands
Peaky Blinders...
get bigger and start touring more frequently, you get used to it. I’ve never played a show where I haven’t had a
Were you a fan of the show before they used ‘The Last
beer beforehand and that’s so bad. There’s this ‘Rockstar
Hangman’?
stereotype’ of drugs and rock n roll but I think we’re better than that in the 21st century.
Yeah! It was nice in that way, when the episode came out I’d been keeping up with it anyway- it was so weird,
There’s a vulnerability in presenting yourself out there.
properly watching it and then suddenly hearing my stupid
You’ve got this love, you spend so much time working
voice like ‘what the fuck was going on’.
on the EP and then suddenly you’ve got 16 days to throw that out into the world...
It was a super intense scene too! Completely hectic...
It’s certainly a nerve-wracking thing. I can’t imagine
It’s such a great scene! I was so glad. And, I’d told
when you watch a movie most of those actors are drunk
my whole family so I was so worried we’d only get 10
or whatever. It’s weird that music is the only platform
seconds of instrumental. When we got a minute and a
where that’s still the norm. I genuinely love touring and
half it was like “Thank god”. There’s few things that
whenever I see a band touring I look through it and get
validate the band to my family but that was one. My mum
jealous of where they’re going and venues they’re doing.
genuinely has it recorded at the point. The Last Hangman
But what’s the point if it’s not fun.
streams went from 100,000 to almost 700,000 in that time frame- those things inspire and push you to keep wanting
The rise for bands seems to be happening more rapidly
to do it all.
these days... I think guitar bands haven’t been great for a while now but more recently, there have been some really good guitar bands- just look at someone like Fontaines D.C. Which is hopeful when you look at how you’re hopefully heading off to SXSW this year. Bringing London guitar bands to the States must be a whole other ball game… They actually do a Windmill stage there now! I remember when I first came to London, The Windmill was this ridiculously mysterious place but that shows you how it’s become.
27
Hotel Lux
The Goa Express The Goa Express have been the North’s best kept secret
James: Our friends Wayne & Libby had a shop on Standish
for quite some time. All five of them have fed in to the
Street near college and we used to go there on our breaks
venues and watering holes that soak up Manchester,
and look through records, mess about on some guitars
from lock-ins at the Rose & Monkey to flat parties in
upstairs… I guess seeing and hearing the same things have
Fallowfield - everyone in the area knows exactly who
put us pretty much on the same level, we all have similar
they are. Locals speak of them with fondness and a certain
outlooks.
glint in the eye, like there’s a story to be told and trouble to be made. When they played the upstairs room of a bar
You’ve been around for a good few years, I remember
in the Northern Quarter in December, friends, family and
your earlier stuff like ‘Waka’s Eyes’. How come you
freaks were out in force, leaving the major label A&Rs
chose to take down all the previous music and re-start
who had turned up, dithering on the outskirts. The energy
with ‘The Day’?
was nervy, youthful and exciting, loose enough to not know which way it could turn. Now the rest of the UK are
James: Them tracks were done a while ago. We still play
switching on.
‘Waka’s Eyes’ live - we’d like to take that back into the studio and rework it.
Their single, ‘The Day’, is an urgent call to arms that sounds something like The Gun Club covering
Naham: I think we’re always constantly writing stuff and
Spiritualized. Tongues and tails are wagging in its midst
then coming back to it and changing it. When you release
and yet none of it phases them; they keep their cards close
something, the final product is there, you can’t go back
to their chest and never talk too much about prospects,
and add or remove things. If you ask people who come
not even the Lamacq session they just did at Abbey Road
to the gigs, we’ll play a new song and then never play it
or the huge string of festival announcements already
again. It’s just the process of how it is for us, I guess. But
lined up for this year. The comfort is in the camaraderie
saying that, ‘Waka’s Eye’s’ has been the only tune in the
and they’re far more at ease discussing the ridiculous
set since day one, we’ll probably go back and record that
situations they consistently seem to find themselves in
again.
like the time guitarist Joey dressed up as a life-sized bag of ketamine or when frontman James got smacked by four
You’ve mentioned previously that some of your
different people in the space of one evening. All aboard
music is about fakeness in society - or to put it more
The Goa Express. It’s quite the ride.
succinctly, ‘lick-arses’.
How did being brought up in Burnley and Todmorden
James: Our new track, ‘Be My Friend’, will be out soon.
shape the band?
I don’t know how prevalent they are, but they inspired the theme of that song. Maybe certain people are just
Naham: In Burnley there’s a lack of creative spaces,
irritating.
especially venues, so we tried putting on our own shows in mate’s garages and above shops. The Golden Lion in Todmorden was putting out decent stuff when we were like 16/17, so we all used to go there quite a bit. Waka and Gig treat us really well there.
Words by Harley Cassidy, illustration by Josh Scurville
30
Would you say you’re primarily influenced by 60s
What can you tell me about the track?
counterculture? Naham: First person who heard it was our Uber driver James: It was the first sort of era we all got into. From
today and he fucking loved it.
then on we’ve always had some sort of admiration for James: True - we tipped for the first time. He was lovely.
what went on then.
Naham: It should hopefully be released in the next few
Naham: I remember in college, early days of the band, me
months. It was done in Sheffield with a guy called Ross
and James used to listen to loads of that stuff: 60s garage
Orton who was mega, we had such a good experience
nuggets and a lot of Haight-Ashbury era bands.
recording with him. What’s the stickiest situation you’ve gotten yourselves I feel like your live show really represents the character
in?
of the band. Do you feel like that’s where you’re in your element?
James: Oh fuck…
Naham: Yeah, I think it captures the band as a whole
Naham: I’m not sure I even want to answer that… This
so well…the energy you get off of each other. There’s
one’s not that bad but I remember when Clarkey locked
nothing better than being in the studio with your best
himself in a toilet before our show at Neighbourhood.
mates writing and coming up with stuff then finally
There’s a video of a bouncer just booting the door down
incorporating that into a live gig. It’s the same the other
and then running off. He was in there for a good fifteen
way round too, when we’re in the rehearsal studio it’s the
minutes. Big ‘Out Of Order’ sign on the door after.
same energy as a live show, we’ve had some fun times just What musicians have inspired you to the point of no
by ourselves in the studio, the same as any live gig.
return? James, I understand you write poetry and have contributed some to Gulp zine?
James: We had a night a few years ago seeing The Brian Jonestown Massacre. I think we were still at college and
James: I know Tom, who runs the zine and thought it was
didn’t make it back until the morning bus came. We’ve
a good idea. It was nice to contribute to it - I’ve been
been doing stuff ever since.
writing songs and lyrics for longer than just writing. It’s pretty much the same thing, sometimes it just sounds catchy and needs to be made in to a tune. What writers would you say interest you most? I imagine you like the renegades like Tom Wolfe or Hunter S Thompson? James: Yeah, I just read ‘The Right Stuff’, it was cool. That era’s cool. I got this British poetry book called ‘Children Of Albion’, which is mint. Lester Bangs is good, too.
31
The Goa Express
The Orielles The Orielles have always had a way with mood. From
Sidonie: When we were going backwards and forwards
soothing psych jam ‘Freaks’ - found on their debut 2016
with the artists for the sleeve, the idea that we initially
EP- to the heady euphoria of ‘Silver Dollar Moment’s ‘Let
gave them was designing it as if it was a futuristic vision
your dog tooth grow’, as a band they know how to create
of 2019 in the 70s.
atmospheres and sonic landscapes that mirror the gripping narrative of a film. It’s only natural then that their latest
Henry: Like how Back to the Future was set in 2019
album would be heavily influenced by cinema’s strong visual and narrative drive. Taking inspiration from 70’s
Speaking of films, you’ve always spoken about how
film soundtracks and horror B movies, Disco Volador,
influenced you are by them as a medium? Is it the
sees the band explore 21st century existential dread via
visual aspect that inspires your music, as if writing
a roaming space odyssey through funk, disco and acid
the tunes makes you realise how the videos and album
house. We chatted to them during a rehearsal for their
cover will look?
latest Marc Riley session to understand how the two concepts came together.
Esmé: I think it’s less about the visuals and more about the narrative structure of a film, we often tie that narrative
You could definitely call ‘Disco Volador’ a concept
structure to our songs. The visuals come after but when
album, was this idea fully formed before you went into
we’re writing we’re thinking of it like a film score.
the studio? Henry: We’re definitely way more influenced by film Esmé: We always write to a theme or a narrative, with
scores with this album, it has a lot of scenic musical
this one of the original concepts that we had was space to
moments in it. In one of the tunes we followed the plot
boogie or boogie to space, so we were originally going to
of Home Alone 2, the highs and lows of Macaulay Culkin
have half of the tracks as atmospheric, floating in space
and bringing the listener through that.
and the other half as dancing in space.
33
Words by Eleanor Philpot, illustration by Valat Ampavat
What made you want to work with Marta Salogni
Esmee: I feel like with the escapism thing that’s more of a
again?
political way of us dealing with things. It’s not necessarily about avoidance but channeling things in a positive way.
Henry: It was picking it up where we’d left off on our first album (which Salogni also produced) which really helps
What does the title ‘Disco Volador’ mean to all of you?
with the creative side; you know what works between everyone while you’re in the studio. And Marta’s style was
Henry: Our Spanish photographer told us it means flying
really in keeping with the style we wanted to make with
disc, which can mean like UFO or frisbee. Es, didn’t you
this one. There are loads of elements of Marta’s listening
get the name of the title when you caught a frisbee and
library which made its way into the record which is what
flicked it over?
you want from a producer. Esmé: Someone just threw me a frisbee and on the back She also filled us full of essential dread, we’d go down
it said ‘Disco Volador.’ I got that in my house now, the
and be like ‘we’re not focusing on this take’, and then
original Disco Volador
Marta or our sound engineer would get up a really horrible story from the news, like to do with global warming or
Henry: You should put that on Ebay. Who threw the
something and that existential dread would let us play
Frisbee Es?
with angst. Esmé: Lizzie Esmé: We wrote a song halfway though that was called,’We’re all excited for our existential crisis’ but that
Sidonie: Lizzie is Esmé’s imaginary alien friend
didn’t make the cut, there were lots of anxieties about the future and stuff in the studio.
So it really has that space theme through and through...
Henry: There was a Lunar eclipse on the first day we
Henry: Could you actually put us in touch with someone
started recording as well that was weird.
who can shoot our record into space physically? Just put it on the bottom and leave our email, as that’s our goal, we
Esmé: There were so many significant space things going
want it in outer space by the end of 2020. Or you could
on while we were recording and we weren’t sure if we
make like a mock advert at the end of this interview that
were just noticing them all because that’s what we were
reads like ‘Orielles seek astronaut’ that would be good.
writing about or if there was something else going on. There was the anniversary of a landing when we were there and we played at Blue dot festival one of the days too, which is held at the Jordell Bank Observatory. Is it important to create a world that your fans can escape to? Henry: I think that’s very important, that’s what we always aimed to be as band, a purer form of escapism rather than directly address issues half arsedly and not really saying much.
35
The Orielles
BAXTER DURY
Baxter Dury, prince of the sleazy vignette, describes his
getting over that and being in a place where you can then
new album ‘The Night Chancers’, as ‘told through the
invite a whole load of new trouble.
eyes of an ageing hip-hop mogul, looking back on his life in chapters’. Whilst his tongue is clearly in his cheek
Reading your press release, it says you’re trying to
as he quips (the record remains an incredibly personal
push your work towards an almost more ‘directorial’
one, using character not as a form of invention, but rather
point, moving away from the pure confessional tone
a device through which to freely document his own
some of your previous work affects. Could you tell me
progression) one cannot help but see some level of truth
a little bit about some of the wider inspirations, themes
in the assertion – assuming of course that is in some way
and characters that went into the album?
how Baxter views himself. So the album is a reflection; got over the heartbreak, done ‘The Night Chancers’, a ten-song exploration into the
the tour, dealing with coming home to a lot of unresolved
midnight hours of human nature, skirts the borderlines
adventures. When you’re touring, you’re trapped in a
between youth and maturity, brevity and darkness, the
cycle, and then it’s very much back down to earth, and
pantomime and the real. It is a remarkable thing to find a
have to come to terms with being a slightly strange singer
man, almost two decades into his artistic career, remaining
character. It’s all very positive, in that I’m looking for
so unflinchingly committed to documenting original
problems, rather than being confronted by actual ones. In
workings of his mind, whilst making a conscious effort
terms of characters, as something I’ve always done, I find
not to fall back onto the manners and tropes affected on
a way of laundering a voice through another character,
his previous works. This commitment to evolution, the
which gives you a bit of freedom to say something you
unwillingness to simply trot out another ‘Prince of Tears’,
otherwise maybe wouldn’t be able to. They’re not that
is characteristic of each of his releases, and we as listeners
far away from who I am, it’s all quite innocent! Take
are rewarded instead with a uniquely brilliant album,
the character of the ‘Slumlord’- that
posed almost as the sequel to the subject of Prince.
character does exist, but it’s an almost impressionist,
We caught up with Baxter midway through his album
abstract take on this person,
release campaign (‘I’m living the bullshit!’), for a chat
responding to that person and
about the album, Stanley Kubrick, and whether his
how they make me feel.
younger self would be happy with where he’s ended up. ‘Baxter loves you!’, indeed. Listening to the album, there’s some change in the sort of lyrical content and musical tone. What’s changed in your life that you think may have caused these changes? The shift is mainly because I feel you get creatively choked if you don’t try and do that. And then there’s this style of talking over music that gets quite exhausting, and a lot of people are doing it especially in the indie world. That’s not to say I don’t have the right to do it, but the shift is maybe me being slightly delusionally urban. Because I am very much that, so I was just trying to release that, find a different energy. The album before this was about a set of events, and almost cliché heartbreak scenario, and this album is almost post-that,
Words by Dan Pare, illustration by Josh Whettingsteel
I remember around the time your last album came out,
It can be loose, but it has to have some connection to what
as I’m sure it has through your entire career, every
I’m trying to say. I think everyone else rhymes too much,
piece written about you fixated to some extent on
and as soon as I try to be like someone else, it just doesn’t
this idea of you ‘finally stepping out of your fathers’
work. The stream of consciousness is the only thing I’m
shadow’ or something to that extent. Is that something
100% capable of, 24 hours a day!
you ever grapple with? Or do you think the issue was put to bed ages ago, and everyone should just move on?
Your 2018 B.E.D project was a brilliant gap between albums. Is that project one we can expect to see revived for future releases?
I don’t think I ‘grapple’ with it, other people ‘grapple’ with it. I think it’s just something that does exist, you can’t remove people’s views. For a young magazine like
I don’t know if I’d do it in the same group – it was a little
yours, the people reading it are less likely to be interested
bit tough to work, especially with the release of it. When
in my dad because they didn’t really know him. But if
things are just working without any pressure, as it was
you get a crusty old journalist, that’s how they see it. I’ve
when we formed the idea for the group, it can become a
learnt to ignore it mostly, but it’s when all the questions
bit tricky when there is that sudden pressure to release
are about him that it gets annoying. Especially when it
something to a schedule. I was just in Paris for a month,
dilutes your own progress. People want me to be like him,
and it happened without any consideration. So I doubt
but then don’t like it if I’m too like him. People can just
there’ll be more, but I’m sure there will be other projects
positively compare us, as both are really good!
of similar vein.
Listening to this album, the attention to detail in
You’ve got a massive UK tour kicking off in April,
a particular scene- whether a dripping tap or a
followed by some European dates. How important is
particular set of dry lips, made me feel like I was living
playing live to the way your music is experienced?
out someone else’s lucid dream, it was absurdly real – is this a feeling you’ve actively tried to create?
I think it’s important generally, it’s where people come and want to understand you. It’s hard to make these songs
Good. It’s all visceral, I’m trying to conjure up something
work live, and takes us a while to get good. But once
that makes you feel dirty. I also see it like Stanley
you’re on a roll it’s brilliant- the last tour, songs like
Kubrick, he navigates that uneasy territory, where his
‘Miami’ only really came alive when we played them live.
films are really beautiful, but also quite off-putting and
It’s a tough slog getting match fit again, but once you are
awkward. Its all about the contradictions, it’s filmic what
it’s very enjoyable.
I want to explore. I have no idea about world politics, I’m more interested on the micro scale, people’s personal
If you had any words of wisdom to impart to a young
frailties as well as my own.
Baxter Dury, what would they be?
Your style of delivery is fairly stream-of-consciousness
Don’t bother! In all seriousness though, without
inspired. Do you have a process for writing in this
everything that has happened, would I be where I am, who
fashion? I can imagine cutting it all down to be an
I am? Do I enjoy where I am? I think so, so I think things
absolute nightmare.
have been pretty good! I think artistically this music will always have a sort of artistic cap on it, because it’s never
Sometimes it’s just lazy. The music is more of a
going to be played on Radio One. But equally, I’m with
considered process, then lyrically I just open a valve and
the people I’m meant to be with, if that makes sense, so
try not to edit it too much. I find it sits better when it’s
I’d just give myself a hug and tell myself it was all going
raw and unedited, and when you try and construct song
to be alright! I’m not sure whether the older or younger
sentences it becomes awkward. The dangerous thing is
me would be more reassured by that though… It’s all quite
that you can go easily into just nonsense territory.
Kubrick.
39
Baxter Dury
People want me to be like him, but then don’t like it if I’m too like him.
Can you remember the first piece of visual art that had an impact on you? My grandmother painted and I remember her sitting me down and teaching me about how to keep the point on a soft brush. She was big on brush maintenance. She taught me how to blow smoke rings and how not to fuck up paint brushes. I remember her paintings of bowls of fruit dotted around the house. The So Young Artist Series is a new project we’re
What’s the story behind the collage you’ve used for our
launching in which we’ll collaborate with some of
collaboration? Where did you find the original images?
our favourite artists and designers on one-off items of clothing. Our first edition really encapsulates what we’re
I started doing postcard collages on the last Maccabees
all about at So Young, the combinations and crossovers
tour. No one buys or sends postcards any more. They were
of music and visual art in all their forms. Our first artist
the original Instagram post. A shiny, picture perfect image
is Orlando Weeks, songwriter, illustrator and collage
of your holiday. Two cocktail glasses clinking in front of
artist. We’re honoured to have Orlando on board for our
the dream sunset ... best life stuff. I liked the idea of doing
first item and so we caught up with him to talk about his
something with these increasingly discarded objects. The
creative process.
postcards on the T-shirt are from a holiday to Sicily and the Aeolian Islands. On my holiday I didn’t see a single
What are the main differences for you between
eruption but you wouldn’t know that from the postcards
working on an illustration or writing a song? Both of
that I came back with.
which I imagine are initially isolating processes before you share with a publisher or bandmates…
A lot of collage involves collecting pieces of found imagery. Did you collect anything as a child? Where
With illustration I have a better idea of what something
do you think your tendency to assemble collages comes
should end up looking like. With song writing I feel far
from?
more at its mercy. It’s the boss of me ... usually. I tried to collect things as a kid. I wanted to be the kind of Do you enjoy one process more than the other?
person that collected things but I’m not diligent enough. Not enough of a dyed in the wool enthusiast in any
Not especially. I can feel just as sick of one as I can with
particular direction.
the other. Having said that songs are always more hassle. Both have their perks ... I like that I can have the radio on
In terms of collage... I think it comes down to genuinely
when I’m drawing and a muted film on in the background
rating my ability to cut stuff out. Growing up, no one
if I’m sat with the piano.
ever asked me to do their home work but I was asked to do people’s cutting out. Nice to do something you think
Where do you draw your main inspiration from?
you’re good at.
For me, any potential satisfaction that can be taken from
What projects are you currently working on?
making stuff has a sort of inbuilt vanishing horizon. The best song I’ll ever write or my favourite or most
I’m finishing my record at the moment which will come
accomplished drawing is always the one I’m about to
out this summer and preparing for the tour that’s coming
start. I suppose that counts as inspiration ... the fizz of that
in March.
potential.
41
everpress.com/so-young-magazine
Artists
Josh Whettingsteel
Editors Sam Ford
Josh Whettingsteel
Writers
Phoebe Scott
Matt Bisgrove Sam Ford Al Mills
Ross Jones
Rhys Buchanan Harley Cassidy
Eleanor Philpot Dan Pare
Josh Whettingsteel
Printed By Ex Why Zed
info@soyoungmagazine.com
Michael Taylor Adrian Forrow ABANG Cépé
Laylah Amarchih Mariana Malhão Holly Whitaker Mariana Sabio Daisy Link
Josh Scurville
Valat Ampavat
Orlando Weeks REN
Photos for Collage Dan Kendall
Darius Williams Holly Whitaker Mariana Sabio
Neelam Khan Vela Rhi Harper Tom Beard
Website
Art Direction
News
Special Thanks
SoYoungMagazine (Facebook)
Ross Jones
www.soyoungmagazine.com
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www.joshwhettingsteel.com
Jamie Ford
Cameron JL West Kai Fennell
Opposite, REN, ‘Big Boys Cry Too’ Watercolour and Pencil on Paper