Interview: Priests

Hailing from Washington DC, are you a fan of the Riot Grrrl movement and are there any other artists in the area that you're excited about right now?

We do like a lot of music that is generally categorized as "riot grrrl", yes. But we also like a lot of jazz, lo-fi bedroom pop, noise music, "77 punk",  doo-wop, old "surf" style guitar instrumental music, lots of different styles of hardcore, old and new hip-hop. We like a lot of stuff, we are big fans of a lot of disparate kinds of music. And we always wonder, why is it no one asks us about this music? Why do they always ask us about Riot Grrrl? We have a few ideas, but don't want to make assumptions. A lot of bands we're into around DC these days. Some of them are Give, Protect-U, Teen Liver, The Deads, Dudes, Foul Swoops, Cigarette, Big Hush, there are a bunch, a lot of them aren't even new. 

You've just announced you're working with Don Giovanni, how does it feel and what made you go with them?

We are working with Don Giovanni and are very excited about this. We have our own record label, Sister Polygon Records, which is how we released our first single and first two cassettes. We became friends with Joe over the summer, he asked if we'd ever be interested in releasing some music on his label. We said well, maybe we'd like to do that but we'd like to get to know each other first. So we played a show together in New Brunswick with his solo project Modern Hut and lo and behold, we all became friends. So Don Giovanni and Sister Polygon will be co-releasing the next Priests record, and we're all really excited about this.  

Don Giovanni has a lot of other great female-fronted bands and female artists on the roster, was this something that you considered when deciding to work with them or was it just because you liked the label?

We just like Joe, we like how he does business, Don Giovanni just seemed like the "right" choice. Have you ever seen When Harry Met Sally? There is a part when one of the older couples are talking and the woman is like, "You just know, the way you know about a good melon", it was sort of like that. We published something in The Media last spring about our upcoming tour, about how we think accessible community space and playing all-ages shows are important. And Joe wrote to us and said hey, I thought that was cool. I just wanted to write and say hi.

You call yourself a "real life non internet band", what is it about being an internet band that disinterests you? Do you feel any disconnect with technology?

I think that is part of the description on our tumblr, yeah. All we mean by that is our band isn't just a website. We make records and play shows "IRL" (internet speak for "in real life", for the uninitiated) and it just goes beyond the internet. Uh, but sometimes for me personally the internet does accelerate communication and human relationships in a way I haven't become totally accustomed to yet, I feel like I don't always translate myself the way I'd like to, but I have a feeling a lot of people have this problem.    

You recently released Tape Two, a cassette-only tour release, what is it that attracted you to releasing music on cassette? Are you very involved in DIY culture?

Cassettes can be produced quickly, they are inexpensive, and cassette players are also very inexpensive at most thrift stores. A lot of people don't necessarily have cassettes or their players lying around, but if you'd like to be a part of that it isn't difficult. You don't need a lot of money and really, you might find a lot of cool music on tape for not a lot of money. The problem really is that you might find some bad stuff, too. One time Gideon found this tape that had 4 faces on the cover made out of clouds, it looked like it could've been a lost Earth, Wind & Fire record or something? Or maybe it was an Earth, Wind & Fire record? Anyway, it was a real let down for us because the tape was actually boring, there were no hits on it. No "Getaway" or "Shining Star" or anything like that. So yeah, I guess tapes are still a roll of the dice but we like them. We like them better than CDs but really, I'm even coming around to those. I mean, however you want to listen to music. We live in the future, the world and the music are truly at your fingertips. You can do whatever you want.    

Are you currently working on any new music or are you focusing on playing shows in NY and DC?

We're working on new stuff! Always working on new stuff! We get bored otherwise. Washington DC is our hometown though.

You wrote a song about author and playwright Lillian Hellman,  has her writing inspired your music in any way? 

She's so cool! I mean it's like the lyrics I wrote in the song, I literally read a biography about Lillian Hellman and thought, wow. Cool lady. Deserves a song. I'd encourage anyone to read about her life or read some of her plays or other works, she was a real character.

Lillian Hellman was very politically involved and you also mention some of early American politics in 'USA (Incantations)', are you a very political person?

Isn't everyone a political person? Even when we don't realize it, our actions and our values and opinions, the way we live our lives, all this stuff has meaning and impact.  

Do you have any other inspirations that influence the way you make music? 

Pretty much anything I surround myself with is an inspiration, I'm a real sponge. I think all of us are, we're all very impressionable and sensitive.  

Aurora Mitchell

Rachael Kilgour - Interview

Rachael Kilgour is a political singer-songwriter from the icy cold shores of Duluth, Minnesota. Focusing on both the personal and the political she’s released a new EP entitled ‘Whistleblower’s Manifesto: Songs for a New Revolution’ that is so excellent that we’ll forgive her for using comic sans on her official website. Willing to play everywhere from barns to coffee houses, she’s criss-crossed America penning snapshots of hope and deprivation with sharp, topical lyrics and shared the stage with folk luminaries such as Greg Brown. Recently she spoke to Sound Influx about growing up in the cold, money-grabbing labels and loving both Woody Guthrie and M.I.A.

From Bob Dylan through to Low and Charlie Parr, Duluth, MN seems to do pretty well music-wise. Do you have any idea why that might be?
Um...no! Not exactly. We seem to have a lot of opportunities for everyone, no matter what your style or ability level and I think that's a pretty great model. Out of that many artists and that many venues, you're bound to find some amazing talent. Or maybe surviving a freezing cold Duluth winter helps spark the creative mind. Or maybe we're just lucky.

‘Whistleblower’s Manifesto: Songs for a New Revolution’ is a pretty provocative title. What does revolution mean to you? And do you think artists have a duty to address political events?

I believe our society is due for some drastic change - change led by the people. We could do better in many areas - our foreign policies, the racism, sexism and homophobia that are still rampant today, and my own personal favorite, the unequal distribution of wealth. Our economy is not functional in a way that benefits the majority of our society. I think it is disgraceful that a handful of people hold most of our wealth, and the rest of us haven't banded together to demand something different yet. My song "In America" specifically addresses this issue: "the bottom few could be privileged too, if they'd buckle down and try." I'm so sick of this idea that we are all responsible for ourselves - that a person should be able to pull themselves up by their bootstraps and make a life for themselves. It is simply not true. Sure, there is a certain amount of ambition that person needs, but in many regards, are paths in life are predetermined. I don't think the way our system works today is sustainable and I'm fairly certain that we will experience some sort of collapse eventually, and maybe that will lead to real change.

To your second question, yes, art is an incredibly powerful way to address political and social issues. But not everyone is called to make art about it. For some people (including myself at times) art is deeply personal and it is hard to sing about anything broader than your own personal life. I totally respect that. On the other hand, I think we tend to be a nation of narcissists and sometimes it's a good thing to push yourself to think about and write about things beyond your own personal experiences.

What are your favourite political songs and why?

I grew up listening to a lot of Pete Seeger, Woody Guthrie, and the political music of the 60's and 70's and I liked all of it. Some of my favorite songs are by Malvina Reynolds - "Little Boxes" and "We Hate to See Them Go" are two ridiculously awesome songs. In "We Hate to See Them Go" she imagines an America where the "gentleman of distinction" sign up for the army and go off to war. Here's a verse:

"The bankers and the diplomats are going in the army, It seemed a shame to keep them from the wars they love to plan. We're all of us contented that they'll fight a dandy war, They don't need propaganda, they know what they're fighting for. They'll march away with dignity and in the best of form, And we'll just keep the laddies here to keep the lassies warm"

I also really like the songs "Banks of Marble" by Pete Seeger. The verses highlight some of the low-paying, hard-labor jobs that left (and still leave) families struggling, and then finishes with the chorus:

"But the banks are made of marble With a guard at every door And the vaults are made of silver That the workers sweated for"

As for recent work - I think M.I.A. has some incredible messaging and I also really like Nellie Mckay and Ani Difranco.

Why do you think that the political left has better music?

Because we are right of course. The political left has, for a good long time, been primarily focused on the struggles of the underdog. That's just plain and simple WAY MORE inspirational. Save the rain forest, equal rights for women, government services for the poor, freedom to marry for everyone, stop killing people in pointless wars, end racism... I think our consciences are tied to the issues quite strongly and that leads to some impassioned music. Plus, I think we've just relied on that avenue of expression for a longer time so we're better at it.

According to your Facebook page you’ve chosen not to sign to a record label. Why was this? And do you think record labels, which are out to make a profit, can ever adequately produce political material?

You nailed it. I am definitely open to working with a label, but I haven't yet found one that is in line with my ethics. I would never agree to compromise my beliefs in order to make it as an artist. Clearly I am not out for profit, as evidenced by my sad little bank accounts. I think there are a handful of labels out there that might be a good fit for me in the future, and I'm grateful for the good work they're doing.

Your wife sings harmony vocals for you. Was it fate or good luck that your voices happen to go together so well?

Not sure how to answer this one. I guess both? I do love singing with Adeline. We've navigated a long road of collaboration for the last seven years and it's had its ups and downs. Of course working with your spouse is a challenge for anyone, but the thing at its core - the singing - has always been wonderful. When we first met we started out singing old covers like Joni Mitchell and Steely Dan on our dates. It was very sweet. Adeline overcame some pretty severe stage-fright to back me up. She's the best harmony vocalist I've ever worked with. She can come up with a harmony part the second she hears a song for the first time. I think it is superbly attractive.

From your press material I was expecting more of a singer-songwriter approach so I was surprised to find you had a full-band. How did your backing group come together? And are you thinking about what the whole group might be doing when you write a song?

Actually, I do a lot of performing solo. The full band is fantastic, and I play with them as much as possible, but it usually only works out for bigger shows and for recording. I always work with Jeremy and Jake Hanson. They are extremely talented brothers out of Minneapolis and they are wanted by everyone and their mothers - which makes it hard to nail them down for a show. Jeremy plays drums in the band Tapes N' Tapes and Jake is the guitarist for Halloween Alaska and Mason Jennings and they both play for Haley Bonar among many other groups. I don't think a bit about what Jake and Jeremy will add to a song - they are so good they rarely need my feedback. My writing self is a simple, solo singer-songwriter. I usually play a new song for Jake and Jeremy and then they'll throw a handful of options out for me and I'll pick my favourite.

Are there plans for a full length album?
Not quite yet. I think full length albums may be on their way out. I guess I haven't decided where to go next with it, but I'll keep you updated.

Is there a concept that ties your songs together?

I guess most of them, particularly the songs on this EP, are meant to inspire people to be their best selves. I go at it differently in each song - sometimes it's a snotty satire and sometimes it's an appeal to listeners' emotions. Mostly I want people to think when they hear my songs, and think hard.

If you could change one thing about modern day America what would it be?

That we would put our financial resources into eradicating poverty instead of into war. And on a personal level, that individuals would think less of themselves and more of what they can do for their neighbours.

Max Sefton

Lucy Rose - Interview

Sitting down with singer-songwriter Lucy Rose for a quick interview in a dressing room in Southampton, you realise the only thing that’s missing is the cup of tea. Lucy Rose Parton has been touring the country playing small venues and flogging her homemade jam and tea to the country who most appreciate it. “It’s ginger and plum, I just wanted whatever had ginger in it and then it depends on what fruits in season so it was rhubarb over the summer.”

By the end of the night Lucy’s Builder Grey tea is long gone and only three or four jars of lumpy ginger and plum fruit preserve is sat waiting to be sold. “My friends make it, it’s a charity which half of the money goes to.” London based Rubies in the Rubble is attempting to take out two birds with one stone by using fruit which is perfectly good quality but discarded and paying a number of the rising amount of unemployed in London to create these jams and chutneys.

Whilst selling her range of eccentric products, twenty three year old Lucy also makes her own brand of beautiful indie folk with her backing band of four. “We’ve been on tour since the first of October really. Europe first and then this is a five week UK tour, it’s kind of a long one.” Selling out sixteen dates of her 24 date tour around the British Isles Lucy and co are seeing crowds which they didn’t expect. “Newcastle was especially good, the singing was just so loud, I couldn’t believe it.” Latest single Bikes has racked up over a half a million hits on YouTube and is a highlight of the set. “Bikes is the last one of the set and it has been going down the best.”

Debut album Like I Used To was released at the end of September with Columbia music but Lucy hasn’t read any critical reception. “Hopefully reaction is good for the album I don’t really know how to gauge it. The albums not even been out two months so it’s hard to know how it has gone down. It is only at the beginning of its life so hopefully people will carry on sharing it and liking it.”

Lucy’s festival season may be long over but there are fond memories. “Reading was up there as one of my favourites. That was fun. Green Man was the first show we got an encore at so that was pretty mad, for a festival anyway. Field view was good as it was the first time I ever did a real stage dive. I had a really lucky and really fun festival season.”

Stage diving is becoming a regular occurrence of Lucy’s live set. “I did a ridiculous stage dive two nights ago in Brighton, it was completely insane. I did land on a few 15 year old girls and was worried.”

She only has nice words for the boys of Bombay Bicycle Club. “They’re five of my closest friends; we met in a pub three and a half years ago.” Lucy contributed vocal work to the albums Flaws and most recently A Different Kind Of Fix for the London four piece, but will there be more? “Who knows, if they ever ask me to work with them again in the future I will always say yes. I will just have to see what they do and what they decide to do next.”

So what’s next after the last few gigs on this tour? “Christmas, finally have a break. I’ve got gigs in Hong Kong in Shanghai and Beijing. Then next year but I’m not really sure what I’m doing yet.” Her date in Hong Kong is at Clockenflap Festival which she played last year with Bombay and now she returns to play herself. “I’ve never been to China though so Shanghai and Beijing should be really interesting.”

Adjectives are coming left right and centre to explain how much Lucy has appreciated the lovely crowd she’s received on this stint. Yet she explains the reputation of her live show is sometimes subject to a game of Chinese whispers. “Someone sent me a tweet saying I heard you give away free jam and tea at gigs, I want some.”

James Peckham

OFF! - Interview

So, whilst pottering around the house last Saturday morning, I receive a phone call from a nice lady informing me that I had secured an interview with the band OFF!. For those sadly unaware, OFF! are an American band, playing fast paced and intense punk music, in the vein of classic hardcore punk from the 80s. They're awesome. And they're also something of godfathers of the business, having music careers that are around thirty years old. It's like the band they always needed to be in.

When I got to it, I was mainly speaking with Keith Morris - most notable for fronting Circle Jerks and being the vocalist on Black Flag's 'Nervous Breakdown' EP. He was a very unique character, so much so that he lost me in a few places, it has to be said. Donned with a pair of very large, rounded spectacles and a hat. Occasionally guitarist Dimitri Coats (mostly known externally for being in Burning Brides) would answer a few questions, and bassist Steve McDonald and drummer Mario Rubalcaba popped up here and there. We spoke for about an hour or so in total, the last half an hour (I cut out) was a meandering conversation that resulted in them asking me if I liked certain bands, namely 70s rock icons and me appearing very boyish and having not properly listened to them. There definitely was a generational gap there. But they were awesome guys and I was really happy to have met them all.

As for the show itself, I have to say that, as usual, Trash Talk stole the show me for me. The stage presence of Lee Speilman and his audacity for getting into the crowd and interacting with the audience is always a treat to watch as he's so daring and unpredictable. At one point he pushed through to all the stand-back-arms-folded side of the room and had a chat with people, saying how they paid as much as the guys who were right at the front, they deserve as much attention as the others did.OFF! themselves were really good too. It was the second time I've seen them perform, and I wasn't as mosh-heavy was I was the first time round, but it was good to see them again. Also with the nice context that mere hours before, I was hanging out with them before, one of the raddest bands in the land - and that made me feel pretty darn awesome.

Eliot Humphreys

Zulu Winter - Interview

After several high profile support slots for Friendly Fires and the Horrors London indie up-and-comers Zulu Winter are heading into festival season on a high. In my first interview for Sound Influx I had the chance to question the quintet about misleading the Proclaimers, the reason you should watch Panorama and why we should expect a more left field follow-up. Read on…


First off, where did you get your unusual band name from?

Our friend Kev is a big Proclaimers fan and he was at one of their shows a while back and got talking to one of the brothers and told him he was in a band, which he wasn't, and when he was asked what the band was called he said 'Zulu Winter' for reasons we are not sure of. So to prevent him from being found out as a liar by one of his idols we thought we would name the group Zulu Winter. We've had no word whether the Proclaimers approve yet!


Was there a particular moment when you got to together as a group where you thought ‘there’s something special here’?

Definitely, we were in the practice room and nothing was really happening and then we started jamming what would become 'Let's Move Back to Front' and we all knew that this was the way forward.

‘Language’ was released pretty rapidly considering that your debut single only came out in November last year. Does that mean that you’d already written all the songs for the album written by then? Did any of the tracks change during the recording process or did you already have a pretty strong vision of how you wanted them to end up?

That's correct. We had written and recorded 75% of the album by then. We spent around 18 months just locked away in our practice room thrashing things out and recording when we could. Some of the songs were developed a lot in the studio, particularly 'People that you must Remember'. That one originally started out as quite an enormous song, but we weren't really feeling it and when Will [Daunt – vocalist] had finished the lyrics it didn't seem to fit the mood of the song so we tried to make it a lot more delicate and work on the atmosphere of the song a lot more and now, for me it’s one of my favourite songs on the album.


I always like to ask bands this: What kind of music were you listening to whilst you were making ‘Language’? And do you think any of that fed through into what you ended up producing?

As there are 5 of us there were a lot of different influences thrown into the pot. I think we all tried to get our influences in, but you've got to remember there's 4 other people who will always be a lot more influential on the sound then any another band will be.


On ‘We Should be Swimming’ and ‘Words that I wield’ there were a few phrases that reminded me of the Wild Beasts or Morrissey, which seem to me to be the kind of artists that only Britain could produce. Do you think that this a particularly British record? Was there anything in British culture you specifically set out to address?

I always think British band do melancholy better than other countries. Maybe something to do with the weather!


I first came across Zulu Winter on Radio 6 Music. What was it like when you first heard one of your tracks playing on the radio? And have you ever come across your music in an unusual location?

I heard 'Silver Tongue' on Radio 6 one morning when I first woke up which was quite a nice shock. It's a little strange hearing yourself on the radio. I actually heard 'We should be Swimming' on a Panorama documentary which I think was about nurses not getting enough pay, which was pretty unusual.

For a relatively young band you seem to have toured all over the place. What are the best venue and the best crowd you’ve come across? And what are you looking forward to in the summer festival season?

We played a show at 'Botanique' in Brussels which is set in a Botanical gardens and we played in an old theatre round. It had a great light show and a really nice atmosphere. We’re really looking forward to Festival season. We've already played Field Day and No Direction Home festival which were both really exciting, and its great as well because you can go and check out other bands that you want to see.

You’ve also just had a run of shows opening for Keane. How did that come about? And how did you find playing larger venues?

Not sure how it came around. I think they'd heard of us and asked us to come along. The main thing I like about larger venues is the sound, the systems are generally better quality but I do like the intimacy of smaller venues.


What is the best gig you’ve ever been to and why?

The first big gig I went to was when I snuck into Glastonbury and saw David Bowie playing on the man stage, I will forever have the image of the crowd jumping in unison to Rebel Rebel etched on my mind.

Have you already started writing songs for a second Zulu Winter record? What direction do you see a second album moving in?

We've got loads of ideas and a few songs a bit further developed which we're looking forward to working on soon. We're talking a lot about David Axelrod [jazz-psych composer] style drums at the moment, but you'll have to wait and see.


Finally, you decided to name your album ‘Language’, how many languages can you speak between you? And could you teach me a phrase that’s come in useful for a band touring the world?

Pathetically I think we're all pretty rubbish with languages. I know a few insults in Dutch strangely and a little French and Spanish but that's about it. I probably need to learn the phase 'sorry I've forgotten my passport' when talking to boarder officers.



Max Sefton

The Rapture - Interview

Here's our second interview from Parklife 2012 courtesy of new Reebok Radio, which you should check out here , following our one with Murkage that went up two days ago. This time Robbie was lucky enough to interview perhaps one of the most influential DFA bands of recent years The Rapture, who talk about festivals, Euro 2012 and working with James Murphy of LCD Soundsystem. Enjoy!

So, Parklife, Now Wave headliners, how do you feel?
Yeah, pretty good! I saw the line-up and I thought, “oh, shit! We’re going up against a lot of awesome bands, so we’re just hoping there’ll be someone with us!

Yeah, even when I was looking at the line-up, I was thinking, “there’s way too many to choose from!”
Ha-ha, I know! I thought, I want to see a lot of this but when I looked at the times and was like, “aw shit man”

So, if you were a punter, who would you go and see?
Well, y’know, I’ve gotta say us but us withstanding, I’d really want to see Julio Bashmore, Claude von Stroke, you know, there’s just some great DJ’s here. Especially, Justice, we played a couple of shows with them on the west coast after Coachella and their live show is just amazing. Even Dizzee Rascal I wouldn’t mind checking out.

And you also come over to England during the European Championships and I heard that one of your songs ("Whoo! Alright, Yeah…Uh Huh") is also the official anthem of the New York Red Bulls football team. So how did that all come about? 

Yeah, we love football. I mean, Matty who used to be in the band is a gigantic Fulham fan for whatever reason and uh, we all follow it. In America, it’s starting to catch on a little bit but its nothing compared Premier League. I’ve been following football for quite a while, you seen it grow a while. Especially when David Beckham came over, it was a massive deal publically. You watch it and the quality is not exactly convincing, I still watch the MLS but it’s nothing on the Premier League. Like, the US team is looking convincing. They beat Italy in a friendly and they’ve got Klinsmann, so it’s looking good.

You also announced your latest album in between the supposed “rapture”, so that must’ve given you the best press available? 

It was fucking awesome, man. We didn’t even plan it out but our Facebook page we started getting a ton of hits a few days before and then we realised, so it worked out perfectly. We then announced it and it was the best free press ever. So really, we should thank that dude, what ever his name was.

Also, this is the first album on DFA, so what’s the relationship like with them and James Murphy? 

We’ve been friends with James Murphy for over 10years now. He came to one of our first shows in like 1999 and he came over and said “I like you, I have studio and you should come over and record” and then he had the label that he wanted to start called DFA and the rest is history. You also worked with Philippe Zdar who’s pretty much in demand at the moment, what was it like working with him? He’s incredible; we’ve been really lucky. As a band, we’ve always wanted to work with good producers and he’s just amazing. He’s super talented and started from the bottom, he can do anything and knows everything about engineering. What makes him amazing is that he has so much energy and he’s so positive. In the studio, he’ll just push you through things and in the studio, when you’ve been listening to the same thing 100 times and it’s not working and he was always telling us to just keep going, which was so important.

So finally, this is just one of the festivals you’re playing this year, what’s the rest of your summer like?
Just touring and festivals; we do this and then Lovebox, go home for like 5 days, play a show in New York and then just generally touring, so it’s gonna be really busy.

Robbie Baxendale

Parklife 2012 - Review / Murkage Interview

So over the past weekend, whilst the heavy metal kids got their kicks at Download, Manchester played host to the Parklife Weekender, offering a completely different experience for the festivalgoer. Whilst the wellies were still on full force on a quite damp weekend, the spirits of many dance music enthusiasts weren’t dampened (get it?!). Amongst the churned mud were DJs and artists such as Julio Bashmore, Bicep, the Rapture and Buraka Som Sistema joined headliners the Flaming Lips and Dizzee Rascal. Parklife themselves have quite an easy festival to organise with many labels and organisers wishing to curate stages themselves. Drum & Bass label Hospitality took advantage of this as did deep house troupe Crosstown Rebels to help provide a wild and eclectic range of performers to keep everyone happy overall.

Our writer Robbie conducted interviews with both The Rapture and Murkage whilst at Parklife last Sunday. Below is his interview with Murkage, conducted after their slot at Reebok Radio which launched at the festival! 

So, Manchester, this like a home festival for you anyway, but how did it feel opening? Murkage Dave: Yeah, yeah, yeah! It felt fucking good, man. The last time we played this festival, we played in a fucking tree house that doubled for the silent disco. But y’know, we still smashed it! It feels like a cliché, you know “from zero to hero” and it’s not like that ‘cause we’re still on a journey but it feels good to play on the main stage to a home crowd. We saw so many people wearing the t-shirts and knew the lyrics. 

Gaika: Yeah, we know so many people that have supported us from the start and yeah, it was dope. It just went off with everyone jumping at the end. 

MD: that’s the way we look at it, we want to be the first stadium rap group from the UK, there isn’t really anyone out there doing that. 

So that’s the ambition then, you want to be a stadium group rather than staying in the underground like a lot of other rap groups do?
MD: I just let the secret out of the bag, but yes!
G: The thing about us is that we’re very humble, but we’re not modest. Our ambition is to win. MD: We said before, it’s all about the deconstruction of the old. We’re breaking down old ideas, bringing new energy, new people, whatever you want to do. Like, why not? Why indoctrinate yourself? 

Especially with such a big group yourselves, with the whole cartel; it must be emphasis on the group things around at the moment. The ASAP mob and Odd Future are all doing their own thing, so is there more of an onus on it?
G: it’s to do with the world changing. People have to make their own structures, their own barriers, they have to it themselves; that’s the one thing you take from us, it’s within you. 

MD: From the online presence, the blogging, the videos, the merchandise, not everyone is doing the same thing. Everyone’s bringing a different thing. It makes you feel closer and more connected, it’s good. 

G: we were all friends before this and we’ll all be friends after it. So it’s an amazing feeling being with your mates.
MD: it’s just fucking good. I’ve got my brother here with me, my good friends, it’s a privilege to be doing this with the people you actually love. 

In your set, you also mentioned the other Manchester MC’s that are coming through such as Virus Syndicate. 

MD: Definitely! They paved the way for us y’know? They were the first ones big in Europe 

G: Broken English and Fallacy! 

MD: Especially Fallacy, he did it his own way. He didn’t have to rap in an American accent, he didn’t have to be a backpacker or mimic the Brooklyn sound but above all, he’s just fucking sick. 

G: and when no one was fucking with us, he was! So shout-outs to him.

As well as the Manchester scene, there are sites such as Don’t Flop, do you feel the genre is going to begin getting over saturated?

MD: Nah, nah, nah! Chronicle and Roman have started something. I’ve been in Manchester for 9 years now and this is the first time there’s something exciting going on. From Wu Lyf, to Illum Sphere to Blizzard even Dub Phizix jumping on that track with Strategy, there’s an explosion waiting to happen and people just need to understand it. 

G: We should work together ‘cause there’s a lot of good music coming out of the city at the minute 

So finally, for Murkage, what are the main summer plans? 

MD: we’re in Europe a lot, European Festivals. We’re looking at trying to get to as many festivals as possible. Sweden is gonna be peak and Belgium! 

G: Yeah, we’re going to France with Xzibit! 

MD: We’re doing EuroRockenes so it’s just crazy. We’re doing about 5/6 festivals in France, we’re in Belgium and Germany. 

G: We’re doing Bestival and Secret Garden and Lattitude and Isle of Wight, everyone from the crew is doing something!

Robbie Baxendale

Water World - Interview

Water World released one of the most fun and energetic EPs of last year, and in hope of capturing some of that emotion, I spoke to Eric Carlson about The Mae Shi, punk music, and bucket lists. I wasn’t disappointed. 

Let’s start with the basics: how do you guys all know each other?

Just through shows and mutual friends who play music, so we decided to play music. I guess it was actually Bill Gray from The Mae Shi who introduced Miles and I, way back whenever.

So you've got friends in The Mae Shi? That's not a bad place to start

Now that I think about it, The Mae Shi was really the genesis of it. They’re our mega bros and we came together through that.

What bands did you all bond over then?
From there, it was a deep appreciation for silly stuff... Nirvana, Deerhoof, Youtube, the usual... 

I guess (like Deerhoof) you cram infinite amounts of hooks into your music, and often in a really short space of time (Born Young, for example). I guess this is why you describe your music as ‘extremely pop’?

Totally. Probably that and a cripplingly short attention span that's the result of being a 90's child.

...and I guess a lot of 'punk' songs are under 2 minutes or so?

Yeah, it's also like...people's attention span is zero these days, so I feel an urge to pack as much rhythm and melody into that 60 or 90 seconds as I can - to give people the most bang for their buck (or internet click or whatever)

When a song is short it drives people to play it over and over again... it makes something more infectious. Maybe that's more suitable for the modern world, where jingles and ringtones are pretty much as important as music nowadays.

For a long time I actually really wanted to get involved with writing jingles and that kind of morphed into the first few Water World songs. I think Andrew W.K put out a record of ringtones in Japan. That's awesome!

Punk music is typically considered to have anarchist or anti-establishment influence. Whilst you don’t (seem to) follow this stuff, do you try keep it all quite ‘punk rock’? I mean, you’ve covered Misfits and remixed Black Flag and you put out Water Wonderful World on cassette...

Yeah, I dunno... we grew up in the punk and hardcore scene, and I think it's one of those things; if you spend your entire teenage years in the trenches, it's going to pop up in everything you do. We have tapes and tapes of punk covers in the closet... more Misfits, the Wipers, a Minor Threat tune. We record constantly and those things inevitably happen spontaneously after we fuck up a take or whatever. It's a cleansing process.

I guess that's part of The Mae Shi influence then?

Yeah totes, with that first Water World single, Water Wonderful World, the mindset going in was: ‘Ric Ocasek from The Cars produced Bad Brains' Rock for Light. So, what would a Cars record produced by Bad Brains sound like?’

In that case: if there was a fire and Pop and Punk were trapped and could save one, and only one... which would it be?

Is Blink 182 a twofer?

Let's put them in 'Pop' - I mean, they're considered 'Pop Punk'.

I’ma go with ‘Pop’.

So you just let Henry Rollins and co. burn away!?

I'm taking him with me. I'm going to claim all the classic punk records as highly evolved pop pieces. I believe in pop. Maybe we'll do a record called the Shape of Pop to Come. Maybe not.

Punk derives from Rock n Roll, which derives from the Blues; but so does Pop. So what would a Bad Brains Blues album sound like?

It would sound like a 1000 conflicting emotions surrounding your heart.

Perfect. Whilst we’re on Pop: the Water World Facebook page says that at some point in the future, you chart at #-1 in the Billboard charts. In that case, what current chart artist, out of all of them, would you collaborate with if you had to?

Oh man that's tough. I really like The-Dream. I love the way he writes melody and harmony. 

He also wrote Single Ladies.

Dude knows what's up.

It aso says on the Facebook page, you apparently die not once, but twice in the future? Aged 35 and again at 39. Are you going to make a bucket list to fill those four years?

Yeah, but the only thing on it is to watch the movie the Bucket List, so I'll be fine.

So what's in the name? Water World implies fun, and that translates completely into your music. What is it all about for you?

Water invokes a lot of spiritual emotions in me. It's the great wide open. It's a purifier in many religions. It's what we're made of, ya know? Evidently, there was a movie in the 90's with the same name, but I'm not very familiar with it.

Haha, yeah, my dad told me about that film. It was, at the time, the most expensive film ever made, however it didn’t do well in the box office and was critically panned.

Apparently. I mean, I don't know about you, but I drink water every day, so it seemed like an appropriate namesake for a band.

That's true, but how would you justify Fuck Buttons? - That’s ridiculous.

Again, I don't know about you, but I fuck buttons every day.

How about Anal C*nt?

That's personal.

You played with Real Estate in London recently, right? What do you think of Real Estate?

Housing is important. I like to live in houses. It's all part of the game of life man.

Surely water is more important? Shouldn’t they be supporting you?

Well, you're wading into boat house territory, see, that's the ideal situation; you get the basic elements for survival in one mobile package.

What do you think of London?

I think London is rad. I think my roommate is in London right now. You’re in London, right?

Hell yeah, I missed your show though...

I just found out that I missed Signals first show back in LA. Mega bummed right now.

As Wavves once said, “life sux”.

Truer words.

Ok, let’s not finish on a downer. Tell me a joke.

A pedophile is walking through the woods with a child, and the child says "these woods are scary", to which the pedophile says "you're telling me. I have to walk out of here alone".

Thank you and goodnight!

I’m here all week.

 

Interview by Will Hall

Johnny Foreigner - Interview

This is an interview I did with Johnny Foreigner on the 8th of March 2012 while I was down in Brighton. They played the Green Door Store and I was lucky enough to get ahold of them and have a ye’olde chin wag with the lads and lass.

As for the show itself, it was pretty rad. I haven’t seen them live for a few good years, and they were still as enjoyable and as energetic as they were then. The supports were good, We Are The Physics pumping out some good start/stop geek punk that sounded like what the Young Knives would sound like if they were massive fans of The Computers. There was another band (that Alexei mentions in the clip) that I can’t for the life of me remember, but they were very good also. Quite technical.

Eliot Humphreys

The Kabeedies - Interview

It’s half an hour before the first band of the night, Onions, are due do go onstage at the Deaf Institute, and The Kabeedies have just found out that they don’t have a promoter. ‘Craig [band manager] has just told us we have to promote it ourselves, so Rory is having a bit of a panic…’ drummer Fab tells me, as he leads me through the maze-like corridors to the backstage band flat.

It’s the last night of the ‘Soap’ tour, and fab and guitarist Evan are pretty positive. ‘The last few [gigs] have been amazing, London, Brighton, Leicester, Leamington Spa.’ Evan tells me. I’ve never been to Leamington Spa. ‘It’s actually really nice! We were quite worried about it but it’s like really posh’ fab assures me, ‘there’s this massive group youths that are actually interested in making it better’ adds Evan. ‘But they do all wear Hollister and Jack Wills’ adds Fab. Well you can’t have it all, I suppose.

I first encountered The Kabeedies’ through hearing one of their early singles, Lovers Ought To on Huw Stephens’ old late night show on Radio in 2008. I saw them supporting Esser at Lancaster Library in October of that year and fell in love with the infectious choruses and harmonies that define their early sound. I’ve been a fan ever since. The name? A word made up by a friend used to name anything from cigarettes to money. However, when supporting CSS they found out it meant more than that. ‘They told us that ‘kabeedie’ in Portuguese means ‘coat hanger’, so our name to them was The Coat hangers.’

As it is the last night of the tour, I ask them if they have anything special planned for the evening.

Evan: ‘Oh yes. I’ve got serious plans.’ 

Fab: ‘But they’re not particularly acute. You’ve haven’t really got ‘plans’ just the general plan of ‘let’s get really pissed!’’
 
Evan: ‘I’m going to see if I can lose my mind. Like actually; people say that a lot but I’m really going to try and lose my mind.’

Fab: as soon as this show’s over I think we will probably descend into an alcoholic nightmare and run around Manchester.

Evan: ‘I’m going to be doing a lot of shouting tonight- friendly shouting, though, not aggressive.’ 

‘Soap’ is their second album to date. I have just asked them how making the second album was for them, and whether they encountered the stereotypical ‘Second Album Syndrome’. But we don’t get far. ‘I can’t think about anything else apart from what Evan has just put on the computer now.’ Fab apologises. The distraction is a picture of a man wearing ‘a dick suit’ as Evan so eloquently puts it. A bodysuit covered in a multitude of fabric phalluses. ‘They’re quite red aren’t they…apart from that one. That one’s just really sad. Poor guy,’ muses Fab, pointing to a fabric penis which is placed just below where the man’s nipple should be. ‘That one’s his real one, that’s why it’s not red!’ quips Evan, which, if true, would be very anatomically confusing.

Evan: ‘Erm, what was the question?’

Fab: ‘Second Album. I found it so much better. Because the first album was just a collection of all the songs that we had, and this one we kind of had, as Evan put it last night, Carcasses of songs, and we built them in the studio around string sections and brass sections. It was so nice to work with so many more musicians, and have really accomplished players on it, rather than us complete idiots who don’t know how to play any of our instruments. It felt bigger.’

Evan: ‘It did. And they’re more songs. The first album was kind of ideas that we didn’t really know how to make into songs, and the new album they’ve become, without sound like an… idiot, piece of work that we’ve made together. So yeah it feels like it’s kind of just… better. It’s just better.

Did you change the song writing process on the second album?

Evan: ‘In parts, like, the last track on the album I made just on a computer. There’s electronic drums and a reversed mandolin part…’

Fab: ‘Our producer was a massive, massive influence. He would help us with the song writing

Evan: ‘Yeah he was a… what’s the expression?’

Fab: ‘Guide, philosopher and friend.’

Evan: ‘no… filtering out the crap.’

Fab: ‘A crap filter.’

Evan: ‘He was our quality control, I think. So if you don’t like the album it’s his fault!’

One of my favourite lyrics from the first album, Rumpus, is from Petroleum Jelly: ‘And even in a villain’s glove, you’ll find Vaseline’, which is a reference to Of Mice And Men by John Steinbeck. Are your lyrics influenced a lot by literature?

Evan: ‘That’s a really weird coincidence, someone mentioned that today! Yeah, I’m probably--’

Fab: ‘It’s really funny as well because you would probably the last person to use literature in your lyrics.’

Evan: ‘Yeah, I don’t read very much, just cos I’m really ADHD. I read a page, then pick up another book. I’ve read the first 20 pages of a thousand books but probably finished a handful. I think that came from the movie, with John Malkovich.

What else inspires your lyrics?

Evan: I think we get inspired by different things. Fab’s lyrics are quite heavily political, Rory’s lyrics tend to be about hating people and I’m the only one who really writes love songs. A lot of my lyrics tend to be based on things I see, like the smallest thing, I’ll try and see if I can make it into a song, and then while I’m trying to make that thing into something, I end up getting a massive opinion on it, but I may put in love as well, kind of accidentally… but my songs are about to get depressing…

Fab: You came and said to us once: ‘I’ve just noticed that old men and women, you don’t see them making out on the street.’ And I was like that’s a pretty weird thing to notice and you were like ‘YEAH! I GOT REALLY ANGRY AT IT! WHY DON’T THEY DO IT?’

Evan: ‘I like when you see an old couple that’ve clearly been together since they were kids, so many years, and they’re sitting eating a meal, and they don’t speak. I love it. Like, they’re comfortable with each other. He’s wolfing down his food, and she’ll just watch him for a bit.

Fab: ‘And she wipes away a bit of food from his mouth

Evan: I love it, I think you don’t have to talk. And they’ll just occasionally have alook at each other. See, there’s the next song, right there!

So what about the tour bus? Who’s the most annoying? (that old chesnut)

Fab: ‘You. (Looking at Evan.) Definitely.’

Evan: ‘Me. Because I’m very ADHD, so I can’t sit still,’

Fab: ‘As you can note by the way he’s just playing with his fingernails and rocking on his chair! [Evan folds his arms and tries to sit still.] You said the infamous quote of ‘I don’t really deliberately annoy people it just sort of happens’. When he’s sort of beating round the head with a chair it’s like ‘I’m not doing it deliberately, it just sort of happened… this chair just fell in to my hand and then into your face.’

What’s on the stereo on tour?

Fab: constant afrobeat.

Evan: Lots of afrobeat. And… Turbo Fruits- we were listening to today’

Fab: ‘Really good band. Um… We have mostly really bad music in our car at the minute.’

Evan: ‘But I’ve been putting a lot of Toots & The Maytals on at the moment’

Do you think that influences your music?

Fab: ‘Definitely.’

Evan: ‘Yeah. We’re a bunch of middle-class white boys playing the—‘

Fab, interrupting: ‘I AM NOT MIDDLE-CLASS!

Evan: ‘Yeah, African music influences us definitely. But so does all that stuff, like Turbo Fruits and garage rock and stuff. Because… I dunno. They’re well good at… bridges. That’s what I like. Riffin’. They’re good at Riffing.

This influence can clearly be seen on Soap, an album which shows a progression in the band’s sound. They have become tighter as a unit, and their sound has matured from the very charming but possibly rather naïve sounding 2 minute jangly indie-pop songs of the first album. But some reviewers haven’t liked the change so much. ‘I don’t like, with reviews where if you’ve changed too much, it’s shit, I hate this expectance of reproducing the same crap. And then people say ‘It’s the same as the first album!’’ Evan tells me. It’s almost as if a band can’t win in that respect. ‘I constantly, constantly Google myself’ admits Fab, ‘I could go through a hundred reviews and if one is bad, then it’ll piss me off.’ Evan has a different take on it though, ‘This is going to sound like nihilism or something, but I don’t really take good or bad reviews on board, because it’s just someone’s opinion, and the whole thing with music is- I mean, look at what the best song in Britain was last year. One Direction, and it just make it clear that the majority of people are idiots…’

Towards the end of the interview, Evan is distracted by the guitarist from The Covelles’ (the second support band of the night) guitarist, who is showing off his huge tattoo of a pole dancer. ‘If you look closely you can even see her camel toe’ he reliably informs us. This leads a long discussion and comparison session about tattoos (including the word ‘PIZZA’ written on Evan’s arm in ‘old pen’- ‘that’s my next tattoo’).

The night unfolds to be a highly enjoyable one, and there needn’t have been the panic about promotion that there had been earlier. The Deaf Institute is one of the nicest venues I have ever been to, covered in quirky wallpaper, with the staged decked in classic red velvet curtains (one of which Evan uses as a towel at one point during the gig). The crowd are up for dancing and The Kabeedies are on top form, really looking like they want to be there, with lead singer Katie dancing all over the stage and Evan doing his trademark jumpy-shuffly dance. Highlights of the set are South-American infused ‘Santiago’ and ‘Come Out Of The Blue’ which both get everyone dancing. Oh, and there is plenty of friendly shouting.

The Kabeedies seem like a band who, though wanting to gain some critical acclaim for what they do, are having a damn lot of fun doing it. Their new sound shows that they are able to evolve as a band too, and make some awesome music in the process. ‘Soap’ is out now and highly recommended. 

Holly Read-Challen 

Dropzone - Interview

Keen readers may remember Dropzone from our recent Sound Inbox feature. To recap for those that missed it, Dropzone is the musical guise of 23 year old Londoner Louie Denniston who makes exquisite guitar based tracks topped with rich vocals. We liked his music so much we grabbed an interview with the man himself, so read on as I quiz Louie on his influences, his recording process and his plans for 2012.

Talk us through the beginning of Dropzone. What made you decide to start making music?

I had been playing instruments for years with a love for a huge variety of musical genres. Ditching piano, I started learning the guitar and it’s been the core of my sound ever since. I started recording demos a couple of years ago that were of poor quality and no depth but were the stepping stones to finding my sound and interpretations of my influences.

What’s the idea behind the name Dropzone?

Well Drop Zone meaning a safe zone area into which soldiers or supplies are dropped into, I feel like that every time I make music as if I’m initially starting in a safe zone state of mind with the possibility of adventure and danger the further I go outside the safe zone, or without being too literal, it’s as if I’m going to war.



What’s your song writing process like? Is it quite lengthy and considered or do you tend to just record things more sporadically?

The music comes before the lyrics in most cases of my tracks, I record a couple of ideas per session and then listen to them for a while before choosing which idea to develop further, there has been times where I’ve brought a number of ideas together to form 1 track. Whatever artist/band I’m listening to a lot at the time always sneaks a hint of their influence into my tracks. I tend record a lot when I’ve recently been to a gig, inspired and buzzed to develop my ideas further. Some of the tracks on my e.p are from 2 year old demos that were very minimal in depth but had the potential to grow and there is still a lot of old material that I’ve recorded that’s worth developing further. For now I’m moving on with new ideas, also with the use of a kaossilator that I have, I’m looking to introduce that into my sound.

You’ve got some interesting covers on your soundcloud of SBTRKT and Cults songs. What is it about Abducted and Hold on that particularly appealed to you?

With SBTRKT-hold on, I knew exactly how I would interpret it with guitars from the first listen, for me it was always about the vocals as a central focus of the track so I wanted that also on my cover with the guitars to be loosely present in the background and a strong lead to enhance how fragile the song is. With Cults-Abducted, I wanted the challenge of keeping the energy and power of the track while covering it acoustically, in its simplicity it was fun to cover.



Do you think being from London influences your music in any way?

With a constant supply of amazing new artists and bands in London, there’s never a shortage of influences but I don’t feel like my music would be much different being from anywhere else. For me, my sound development comes mostly from within and less of what’s going on around me.

In terms of recent music, which artists do you particularly enjoy listening to?

I think King Krule is one of the most promising UK song writers in a while, I have been following KINDNESS for a long time and am looking forward to his LP and The Maccabees new album Given to The Wild is a masterpiece in my opinion which I listen to regularly.

Which one band/artist do you think has moulded you most as a person?

My fickleness with music genres, bands and artists makes it hard to pin point what may have moulded me as a person but as a true smiths fan It would have to be the Smiths.


Are there any artists or genres you enjoy listening to, that people might not expect?

I would probably say ASAP ROCKY, there’s great atmosphere and authenticity in his music and I like his shameless vanity.

What’ve you got planned for the rest of 2012?

Other than more recording, I’m looking to figure out how I’m going to play sound of my tracks live and play a couple of gigs to bring these tracks to life. I’m also in the first year of a Film Degree and looking to keep focused on that as well as my music.


Toby McCarron

Tommy Reilly - Interview

There’s no denying Tommy Reilly won over everyone’s heart with his catchy indie pop song writing, and his cheeky chappy personality in Channel 4’s Unsigned-Act back on 2009. However after a year or two in hiding working on his new album, due for release early next year, I couldn’t help but jump at the chance to catch up with him on one of his intimate tour dates, up in Scotland this month. And I seemed to have picked the best venue to meet up with him – with a ball pit in the middle of his dressing room and a couple of footballs kicking around: some fun games were on the cards before the gig. Priceless!

So firstly; It’s been well over a year now since the release of the last album, "Hello, My name’s Tommy Reilly". What have you been up to since then, working on the next one?
Well yeah, I’ve made another one, in the summer. But I didn’t really want to put it out this year. Just because when I got round to thinking about it Christmas was coming up, plus I didn’t really fancy doing it this year, so I’m gonna do it early next year.

So the new material you have been working on. How does it differ from the last, have you been influenced by any bands you have been listening to? 

Well it’s a bit different, because on this one I got lots of friends in to play on it. The second one was just me and one other guy; me and Roddy Hart. And on the first one it was kinda the same, just myself and Bernard Butler. But on the third one I wanted to get a band together, so I got a couple of guys from a band Admiral Fallow, and my friend Gordon from Frightened Rabbit came, and played a little bit. So there was about four of us, and Paul Savage. So it was kinda nice to have a band, and you know they did a lot. It was nice. And I have chilled out; I guess I was a bit of a control freak on the first one, but on this one I was like, ehh people can do what they want. And when you’ve got people you trust and you like what you do it’s more relaxed. I think I’m the most happy with this one – because I have let people do what they want.

Obviously you won Channel 4’s Unsigned Act back in 09. If you hadn’t won the show do you think you would have carried on with music or?

Yeah, I mean I guess the whole thing was just to try and get more gigs, and I was kinda at a time when I was getting gigs which were good ones but just at home. But I wasn’t getting to play any where else, and I like travelling around, and this one was in London. So the interview came up, and there was an ordination, so I thought maybe I’d get a gig in London if I went. But I think I’d still be playing yeah.

In the show Hip Parade came 2nd, with Scarlet Harlots coming 3rd. Do you keep in contact with any of the bands or Judges such as Alex James?

Yeah I spoke to Rob recently from Hip Parade; well he’s sort of my mate’s cousin so we used to see them before the show, so I speak to those guys now and again. But Scarlet Harlots not so much. But it was cool, made some good mates at the time and it was fun, but I guess everyone’s busy doing gigs and stuff now. 

You were part of a talent show I guess, but what do you think of other "talent" shows such as X Factor?

I love watching them. I think they are really funny. I think some of them are good entertainment, but I guess it’s a problem in some ways. The only reason I considered doing Unsigned act I suppose was because it had to be your own songs. And whether it was me performing or writing a song for someone else, all I ever wanted to do was write my own songs. And that’s something I’m really interested in at the moment, is trying to write songs for other people. I’d love to hear somebody with a different voice performing them. So with that show I did it because it had to be original. I think there’s a problem though these shows, because there are so many people coming out and they can’t all be successful. And so it’s a shame, it’s not nice. 

Where's one of the weirdest places you’ve heard one of your tracks?
Oh well in a casino. One of my mates, I guess he was in a casino and heard it. And one of them was on a jukebox in a pub once. So that was weird. And they put it on for a laugh. But it was weird when "Gimme a Call" first went into the charts, and hearing it on the radio on the chart run down. Had all the mates round for a beer listening to it. Just really weird. Kings of Leon then me! I mean I have not really had a hit like that since, but that was a weird one off.

What can we expect next then Tommy. Any festivals maybe?

Maybe yeah. Guess I wasn’t really playing this year because I was recording. But we did Alex James’s harvest festival, which was a lot of fun, and a couple of wee things; like Home Game up in Fife. But next year, yeah hopefully some gigs. But I do want to counter that with this new interest in writing for others, and I’m gonna spend some time on that. 

Ok so one last question! When I told some guys I was interviewing you, they all wanted to know if you really don’t like coffee? (Originated from Tommy’s hit, "I don’t like coffee")

I don’t, no. It’s kinda all hot drinks really. It’s a weird thing though. No hot drinks. Not even tea or hot chocolate. Just hot drinks – not into it. I’m weird!

By Ailsa Morris