So Young Issue Forty-Seven by So Young Magazine

Issue Forty-Seven Also inside: Bill Ryder-Jones Flip Top Head Girl and Girl Lip Critic Richie Culver Folly Group Omni Tapir!

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Issue Forty-Seven is here, and with it we wave goodbye to 2023. On the cover are rising stars, English Teacher - a band we’ve written about and spoken with since Spring 2021. As the band builds towards its inevitable ‘bigger project’ moment next year, and off the back of a sold out Scala in London, we caught them between their debut headline shows in the USA. We discuss old bands, Jools Holland and what a good debut album should do. London’s Folly Group are edging closer to a long awaited debut album. ‘Down There!’ will be released in January 2024 and we gave the band a call to discuss making an album between jobs and distancing themselves from the post-punk pack. The name Bill Ryder-Jones has often featured within our pages with reference to the records he’s produced (Hotel Lux, The Rhythm Method), but he’s now back with a new record of his own. ‘Iechyd Da’ will land in January and we joined him at The Social in Soho for a chat that spans family, ripping himself off and the influence of Wu-Tang Clan. London’s Tapir! have been firm favourites for some time, and with the recent backing of Heavenly Recordings, we can be excited at the prospect of a debut album in January. With the wonder of their lore and nuance in mind, and the red heads off, we dig into ‘The Pilgrim, Their God and the King of My Decrepit Mountain’ and what we can expect afterwards. Our conversation with Atlanta’s Omni is a special one. As you’ll find within our interview inside, Folly Group and their beginnings owe a nod to the works of Omni.

To celebrate this, we arranged for Folly Group’s Sean Harper to interview Omni’s Philip Frobos and what comes out, alongside a dive into the new Omni record, ‘Souvenir’, is mutual influence and mutual appreciation. Two new favourites are Lip Critic and Girl and Girl. The former are causing chaos in NYC and have recently signed to Partisan, whilst Brisbane’s Girl and Girl have just returned from a UK tour, and are taking some time to decompress the family friction inside the band. We chat to both inside. Finishing off our new band features are Flip Top Head. The Brighton band have more members than songs at this point and following lots of fun at our London club night, We Are So Young, we were keen to dig further into the inner workings of the band. Having just released his sophomore album, ‘Scream If You Don’t Exist’ we catch up with multidisciplinary artist Richie Culver to learn a bit more about his influences, inspirations and daily life. The ‘Women in Revolt!’ exhibition at the Tate Britain is open until 7 April 2024. The exhibition expands the story of British art, mapping a landscape of creative practice from previously underrepresented voices. We visit the exhibition and talk with the curator and contributors. We catch up with Sophie Spratley, founder of fast rising fashion brand ‘rabbit’ who we’ve recently collaborated with on a limited edition t-shirt.

4 Folly Group Down There! 9 English Teacher Whooping and Hollering

36 Girl and Girl Fight Night

15 Richie Culver Born / Died

40 Bill Ryder-Jones Good Health

19 Tapir! Broken Ark

43 Omni Total Control

23 Flip Top Head Orchestral Cult Rock

49 rabbit Lovesick

31 Women In Revolt! The Beginning of the End of the Patriarchy

53 Lip Critic Two of Everything

So Young hasn’t ever shied away from shouting about

S: The way in which we have refracted all of our far-

the achievements of Folly Group. Whether it’s been for

reaching tastes through the Folly Group prism has made

their earliest releases or seeing them develop as a live act

the album as surprising to us as I hope it might be to

from their genesis to where we are now, the magazine has

somebody listening to it.

been there every step of the way, almost like the band’s personal set of cheerleaders.

What kind of things were you aware of that you’d done

While there have been plenty of milestones to celebrate

during the process of ‘Awake and Hungry’ or ‘Human

up to this point, they’ve now reached a pivotal moment in

and Kind’ that you wanted to deliberately avoid for the

their career where they’re finally ready to put their debut

record?

album out into the big wide world. ‘Down There!’ is a spectacular effort at capturing what

Kai: We didn’t really do either of those together because

Folly Group have proven themselves so adept at doing

a lot of the parts were done in lockdown. They all used to

since they formed, emphasising how much they have

live together and it was a bit bitty, sending stuff back and

evolved from their post-punk origins. While it has been

forth and whatnot. This one felt like more often than not,

incredible to have been by their side for much of the

it would be all four of us in the studio. You might not be

process and to have cheered from the sidelines over the

recording that day, but you’d be throwing suggestions in

last four years, it felt fitting to have the band put into their

and either getting brutally shot down or deciding to get a

own words how it feels for them to have finally reached

fire extinguisher on the record.

this pivotal moment as a group. Something that I’ve gained from a lot of interviews ‘Down There!’ is coming out first thing next year. How

with bands who’ve been releasing over lockdown is

are you feeling about the final product and what do

that you’re constantly playing catch-up, and all of the

you think people’s reaction will be to a full Folly Group

things that you’re about to put out are things you’re

record?

bored of now. How true is that for you?

Louis: Sometimes it’s quite an isolating experience

K: We weren’t really sitting on it for too long during the

having an album coming out. You see this stuff that you

lockdowns. We took our time making it because we all

spent ages making and then you begin to not relate to it

have jobs and we could only get into Louis’ place in the

anymore. We’re all really proud that we managed to make

evenings and whatnot. It was more just mad scrambles to

a record, even though it took us longer than it should have

get the thing done instead of waiting months and months.

done. S: If anything, we delivered at the 11th hour because we’d Sean: I think people will hear a band that was formed

been so in the weeds with it for such a long time. If you

over an infatuation with a couple of post-punk bands,

make something that you’re really fucking jazzed about,

but that infatuation is not really there anymore. I think

then you’re very fulfilled by the fact that you have sort of

people would probably hear a band desperate to distance

yanked this artifact from nothingness into existence.

themselves from the pack a bit and prove that they’re not How much is there that you’ve written since then that

necessarily a punk band.

you are more excited about? L: It’s a document of four people trying to make music through this chosen vessel. It’s us trying to enjoy playing

S: I mean, there’s plenty. It’s good that our first release

and trying to get close to the music that we like to make.

isn’t our first album because an album is quite a sort of sacred thing - at least it is to me. It comes with more sentimental heft than an EP.

Words by Reuben Cross, illustration by Clémence Mira

Those EPs trained us and helped us realise how the

ending up in weird Popworlds in Hull. We’ve never been

industry moves, so we were very aware that it wasn’t

better than we were at the end of that tour.

going to be a case of putting this album out and then writing the next one the following year.

K: There were no hairy moments; it was like we had telepathy. Also, because that was our first proper tour, just

You’ve also had So Young championing and nurturing

seeing how it all worked was majorly eye opening. They

you since day one, and I found it quite adorable, Sean,

looked after us. Every time we left something behind at a

that you referred to Sam [Ford] as ‘dad’ in our last

venue, it would turn up at the next one.

email chat. How have So Young Records been as a ‘parental figure’?

T: There were some heavy points on that tour and they were fantastically consistent in their performance. It’s

S: They’re just so good at keeping it fun. It gets well

pretty damn on point every time.

stressful, and yet Sam and Josh will make one comment that will turn the stress on its head and make you look at it

I feel like from the first releases you also had a strong

differently. They’re just naturals.

idea of what you wanted to sound like and how you wanted to come across to audiences. Was there anyone

L: They’re good taskmasters as well, which probably

that you looked up to for that, or at least borrow ideas

comes from collaborating with writers and musicians and

from?

organising the magazine. They’re always just like, “yes mate, how’s that video coming along?” It’s not like “this

S: We were pretty infatuated with N0V3L for a while. We

was due last week, where the fuck is it?”

liked the idea of creating guitar parts that play off each other yet sound so unlike guitars, yet they’ve got three

Tom: Ultimately, what you want from a label is to feel

guitarists. Also Omni - they were a big one for sure.

like they actually give a shit, and with Josh and Sam, I’ve always felt like they genuinely believe in the project. You

Where does a band that are so confident in what they

can’t really ask for more than that.

sound like go next? You know, how do you develop on something that is so brilliantly formed?

You were also the prototype - that must be quite vindicating to know that above anyone else, they

T: I don’t overthink it. We’ll throw shit at the wall again

wanted to dart towards you to put your music out first.

and see what happens.

S: It’s quite an amazing feeling. We feel incredibly lucky

K: I don’t think it’s something that is quite as tangible as

and privileged to be in on the ground. It’s something that

a sonic change, but maybe like the approach to the next

I genuinely think is going to be around for a really, really

record. For a long time, we’ve been saying that it would

long time, and we’re not oblivious to how fortunate that is.

just be great to have a week off and be in a room and just go mad. We haven’t really explored that avenue yet.

Something else I’ve noticed is how you get brought up in conversations with bands saying “we played

S: I’m personally hoping that we can get to a point where

with Folly Group and they were just such an amazing

we can be much more defensive of any sort of vision we

band”. Is there anyone you’ve been on the road with

might have and uncompromising about it. A couple of the

that you feel like you’ve learned a lot from?

songs on the album were written because we needed stuff to be there. I think we’re hoping that this album buys us

L: We did this tour with Do Nothing early on that seemed

the right to make an album fully reflective of what we

to go on forever. They really taught us how to and how not

would fuck with ourselves.

to look after yourself on the road. I saw more in those two months than I’ve seen in years of my life -

K: We’re going to make a 60 minute free-jazz album for the next one.

Folly Group

Records

The Debut Album from

Folly Group 12/01/2024

When English Teacher last spoke with us back in May

Those early singles came with a sense of urgency, with

of this year, they had just played Third Man Records’

rigid riffs and quick rhythms that usually landed them

Blue Basement in celebration of their standalone, Speedy

under the umbrella of ‘post-punk’. This time around, now

Wunderground single, ‘Song About Love’. This time

recording with Marta Salogni (Björk, Depeche Mode,

around — and now our cover stars — they called us from

M.I.A), they’ve pulled themselves away from the label

their hotel room in Los Angeles off the back of their first

and have leaned into delicacy. Although still working

U.S. headline at Elsewhere in New York, just a few weeks

with familiar sounds and songs that we already know

on from selling out London’s Scala, and only days away

and love, with the addition of slow burns, strings, and a

from releasing new single, ‘Mastermind Specialism’.

newfound softness, their recent endeavours present them in a new light. From this growth, to their adapting manner

It’s no secret that things have been hotting up in the world

on stage, what truly stands out about this phase of English

of English Teacher. To watch their 2023 unfold has been to

Teacher is their climbing confidence and comfortability.

watch the uphill endeavour of endless writing, recording,

It’s always refreshing to see an artist fully settled into who

travelling, and playing. Having begun the year as a “one to

they are and what they’re making, more than anything, it

watch”, a phrase undoubtedly easy to get lost in, they are

brings about the excitement of wondering what they’ll do

closing it in a position far beyond that title. It now seems

next.

that the ground has begun to level, and slowly but surely, they are reaping their rewards.

Having arrived in Los Angeles only one night prior, Lily Fontaine (vocals, guitar, synth), Lewis Whiting (lead

Having been lucky enough to witness that sold-out Scala

guitar), Nick Eden (bass), and Douglas Frost (drums,

headline myself back in October, it was clear to see that

vocals) called us – excited but still very much jet lagged –

English Teacher have been capturing unwavering attention

from their hotel room to chat through the buzz of the latter

both online and live - a fact that’s hard to ignore when

half of this year and their first headlines across the pond.

you’re standing in a sea of 800 entranced spectators. Supported by the frenetic South-London trio Alien Chicks,

How has the U.S. been, how are you?

and with the addition of cellist Blossom Caldarone, English Teacher’s recent five-date UK tour completely

Lewis: We’re having a fantastic time in the U.S.

sold out just a day before it kicked off, and is sure to have left those who missed out on a ticket desperate to see it for

Douglas: I’m moving to New York ‘cause I’ve got

themselves in 2024.

problems with my sleep…

The second half of 2023 brought three singles, ‘The

Lily: What?

World’s Biggest Paving Slab’, ‘Nearly Daffodils’; and newest addition, ‘Mastermind Specialism’. Building upon

D: It’s a Wombats song!

their already expanding repertoire, the trio of singles has opened the door to new depths that their previous releases arguably only peeked at.

Words by Amber Lashley, illustration by Shimeng (Monjajaja) Jiang

Lily: Oh I don’t know that one…it’s been well good

Well what about you Lewis? Before English Teacher,

though! The Brooklyn show was way busier than I thought

were there any moments in your other projects that

it was gonna be so that was nice. The bands were sick,

blew you away?

Slow Fiction and Peachole are amazing. L: I was in a mate’s band that got a lot of BBC Introducing Did you guys get to pick the supports for this one?

play, but there was a time we made a music video for a song, it was the first time I’d ever experienced anything

D: It was a bit last minute, but friends of ours in Leeds

like that with the full crew and the rest of it. That was

know Peachole personally.

pretty mad! I was in plenty of different small Leeds bands that were going well before I joined these guys…

Lily: Yeah they were our pick, because they’re great and because we wanted them to be there. Slow Fiction are

And then, obviously, you’ve ended up playing on Jools

really good live and they’re nice people.

Holland. When did you get the call for that?

New York was your first U.S. headline, how was the

D: We found out when we were waiting for a flight back

crowd?

from Hamburg.

Lily: They were receptive!

L: Oh my god yeah…

D: It was way more lively than I thought it was gonna be.

D: It was a few weeks before filming that we found out for sure, but we knew they were interested for a while because the producers came to our show at the Windmill.

Lily: People were moving to the songs, and there was some whooping and hollering.

Lily: We got the text in the Whatsapp group and we were We love a whoop and a holler, that’s the dream! So a

all like “what is happening?”

lot has happened since we spoke in May, but before we talk about this year, I thought we could look back a bit.

L: It was pretty mad. I remember us being in the airport

You were all in projects before English Teacher, do you

just freaking out like “fuck what are we gonna do?”

remember any moments in those projects that blew you away?

Lily: With Jools Holland, obviously we’ve done it and I’ve seen it, but it doesn’t feel like it’s real. I have dreams

D: First time being played on the radio.

where I’m doing shit like that. It just feels pretend.

Lily: Yeah! When our band Frank was first played on the

D: We’ve also been so busy since it happened so we

radio. We were on BBC Introducing in Leeds. We wanted

haven’t really had time to think about it. I feel like that’ll

to get played for so long, we had the radio on the TV and

change once the Christmas period hits and we have a bit

we were just staring at it.

of quiet.

How many of you were in Frank?

Well, I would assume that when you’re in a project that is constantly moving on to the next thing, it would be tricky to maintain excitement? I know that some things

Lewis: Everyone minus me.

I do now are objectively ‘better’ than what I was doing Lily: …but he is the reason why we made it out of Leeds!

last year, but when I’m in it, it’s hard to experience one

It all changed when he joined.

achievement as being bigger than any other!

English Teacher

D: I did feel it when Jools was actually being filmed! I

I love that you all went and did things on your own.

had a big moment in my head after we performed, but

I’ve been on a bit of an English Teacher deep dive

watching it back was a bit surreal…

today honestly, I found loads of old interviews where you say things like “it’d be fun if this was my full time

Lily: It’s so strange how things become more normal, but

job”, which now it is! That’s come with a lot more

now when I am affected by something, I really notice it.

touring though, and that’ll definitely continue, how do

When we arrived here, I went up to sit with these guys on

you all stay sane on tour? Can you stay sane on tour?

the rooftop where there’s a pool - I see things like that on Pinterest! There are moments where I’ll be sitting there

L: You have to lean into it, but you also have to create

and get a bit giddy, or I’ll get butterflies, because this is

your own breathing space. For example, all of us doing

actually my job now. If I came here back in the Frank days

our own thing for a day in New York, it can be sensory

I probably would’ve had a breakdown because I’d be so

overload otherwise, but I love it more than anything.

excited. Are there any key places that you want to go to next? Nick: It’s nice to look back on a year and think “that was

Obviously, New York and Los Angeles are huge ones to

all really good”. I haven’t felt like that maybe ever.

knock off the list…

L: I feel very, very lucky. I had a few moments similar

D: Japan.

to Lily when we were in New York. We had a day where we all went off and did our own thing, and it hit me how

N: That would be amazing.

many times I imagined I’d be able to do this, it was just L: New York was such a massive one. I haven’t fully taken

like “shit, I am actually here”.

it in. What did you all do with your time alone? What were the individual journeys?

Lily: It’d be good to go to other places in the U.S. too Chicago, Seattle, San Francisco…

N: I went to the Statue of Liberty island. N: South America! That’s a classic! So just a small little world tour… L: I went to Greenwich Village, walked around Washington Square Park, mainly I was just really enjoying

D: Well, we’ve also never played in Ipswich.

wandering about. Then me and one of our managers, Pete, In the last interview I did for So Young I had a

went on a boat in the evening which was amazing.

conversation about the nature of a solo record. In your Lily: I went to central park and got shat on by a bird. Then

opinion, what would make a ‘good’ debut record?

I wrote some lyrics and felt better. I then went to MoMA

What would a ‘good’ debut record do?

and saw all my favourite paintings. L: I like the idea of an album cementing an era and setting D: We were all going to go to MoMA actually but when

you up, and then that being the foundation for the rest of

I went to meet Lily the queue was really long. I thought

it.

I’d get to be there for a couple hours but it ended up being about half an hour. So I treated myself instead and bought

D: It can also be so stressful writing and recording, but I

an expensive ticket to the top of the Rockefeller Tower.

think finishing those periods can come with a whole new clarity.

@probablymon

Lily: Obviously there would be big dreams of 5*

L: I feel like my problem is not being able to decide on

reviews and stuff, but we’d just want people to like it. I

what a song is going to be. It kind of flits about and then

also feel like an album could help give you a sense of,

becomes an amalgamation of all of the different angles.

“okay, we’re actually good at what we do”. Everyone doubts themselves, so that would be good, to gain more

Lily: There have definitely been times where we tried to

confidence.

write something very specific and linear, like “we want something with a pop structure”, and I don’t think it ever

On gaining confidence, I’d say that compared to when I

ends up as planned no matter how hard we try. Our natural

first listened to you, you’re now a completely different

writing instinct is to keep things spontaneous.

band in so many ways. Obviously that’s inevitable and there are loads of reasons for that, but are there any

So, what’s on the agenda?

traits you had as young musicians that you want to carry into the next phase of the band?

L: We’ve got the Independent Venue Week tour…

L: Personally, I like how earlier on we didn’t have a

Lily: One of the shows sold out in the first 24 hours,

set plan of what we were gonna do. We were never like

which is the first time that’s ever happened, that was a

“we’re going to make this type of song”, it was always

moment! It’s an iconic venue near where I grew up too,

just whatever happens, happens. I really like the idea that

The Trades Club in Hebden Bridge.

we could do literally anything next. It doesn’t matter what it is.

D: …and that show is on my birthday as well!

D: That’s what I like. A lot of people have said that about

Lily: It’s gonna be a good night. We also have

us, that they don’t really know what’s going to be next.

‘Mastermind Specialism’ coming out, which is my

Even in a song of ours, you might not know where it’s

favourite.

going to go, there’s always a bit of an unknown. Is that conscious? In your writing, do you want to keep the unexpected?

English Teacher

“Wake up. Get my kids ready for school (I have 3)

What are you currently working on?

Take them to school. Go to my studio. Sit there and do nothing or do something half decent. Maybe go to a NA or

I’ve just finished my EP as Quiet Husband that’s coming

AA meeting. Go back to the studio. Sit there again. Back

out on Industrial Coast in Jan. I’ll be DJing at Tresor as

to the school pick up. Dinner with my kids and play with

Quiet Husband in Jan also. I have a visual show at Carlos

them. Bedtime for them. Do the washing up and all these

Ishikawa in January also during Condo. Still working on

ideas start to pour into my head. I wanna go to the studio

what I’m gonna show.

but can’t. Write the Ideas down. Go to bed.” Do you remember when you were first exposed to Art, Having just released his sophomore album, ‘Scream If You

in a way that resonated with you?

Don’t Exist’ we caught up with multidisciplinary artist Richie Culver to learn a bit more about his influences,

Nan Goldin books at an after party in Hull. Blew my mind

inspirations and daily life.

as I was working in a caravan factory at the time. I saw hope. I thought this is something I could do. (Either side

What is your background? How have you ended up

of the lens.. but preferably Nan’s side).

doing what you’re doing? When inspiration strikes, how do you decide whether I am from Hull. I ended up working as an artist and

the words/phrase ends up written on a canvas/surface

musician. I guess the goal back then was to get to London

or recorded as spoken word in one of your songs?

and hope for the best. That’s kinda what happened. Via Berlin and a few other places.. Leeds etc etc. it’s so

I’ve given myself the rest of 2023 regarding the texts on

refreshing that it doesn’t work like that anymore. Why

canvas. My sound work has started to dictate the pace

would anyone move to London now? Just stay where you

now. I’m gonna hopefully paint in a slightly more abstract

are - create a scene and make people come to you.

manner next year. After my Born / Died paintings. I kinda said everything I wanted to say in that painting.

Words by Josh Whettingsteel

Whose work do you admire and why? Controlled Bleeding, Deathbed tapes, Drowned by locals, Breathing problem productions, Industrial coast. I’ve spent my entire life looking for the “underground” or sub underground. These tape labels atm are dictating the pace in a big way regarding what the essence of underground is post covid. A lot of your work comes from a place of boredom, laziness and failure. Was there a particular moment when you realized you could use these introspective, dark places in a positive, romanticized and freeing way? It’s all minimalism or reductionism. Stripping things back. What music do you listen to while working? K-Trap atm. If you could summarize it what would you say is the key theme that runs through all of your work both visually and sonically? Minimalism, D I Y aesthetics. What role does religion play in your work? In my life it plays a role. Not in my work though. How did you arrive at your style of working? Your current work is about as stripped back as it could get. I am not actually sure. It wasn’t intentional. I’ve always liked noise and minimalism so I guess it was meant to be. Finally, what can we expect to see/hear from you in the near future? Quiet Husband- industrial Techno project. Loads more in the pipeline but I can’t say atm.

“For atop a green hill, The Pilgrim did hear a call in

I: It was kind of just an organic coincidence. But I started

the distance” opens Tapir’s debut album ‘The Pilgrim,

the paintings and the painting series during lockdown,

Their God and the King of My Decrepit Mountain’,

and we started the band just before lockdown so a couple

beginning a tale of pilgrimage, loss and hope. In their

of songs kind of existed. So the art and the music and the

live performances and vivid imagery, Tapir! are perhaps

concept… the story just kind of grew from there

most recognisable for their signature red papier-mâché heads and lucid visuals. Their sound is intimate, filled

Do you think the centrality of the story will remain

with wondrous storytelling that is grounded in palpable

consistent on future projects?

emotion I: Yeah, I think after the pilgrim project, it will definitely The album is an arresting statement of intent from an

change somehow. Like, I’m still going to be painting in

authentically complex and nuanced band, whose lore is as

that style because that’s just kind of the only way I know

enticing as their alluring, folksy sound. We spoke to them

how to paint. But also, that concept, it’d be nice to keep

ahead of its release about how such a rich world came into

that alive

being, and dove into its tales Do you think you will still be focused on the Pilgrim Congrats on the album, how does it feel to have it

character, or on that world more widely?

finally in a recorded form? I: I’m not sure, I guess I’ll see what happens. It’ll be nice Ike: It’s quite bittersweet to be honest. At least to me, I

to return to it at some point. I think something we’ve

think, because it’s been about two years, probably a little

realised is it does take a lot of effort *laughs *, as a band

more since the start of the project. So it’s very exciting

it’s quite extra, doing all these other things. So I think it’s

to share it. But also, for it to be the end of that project

quite nice to be at a point where you can kind of have a

that we have been working on for so long. Which is nice

bit of a blank canvas. Now we’re at a point where… you

because you don’t usually get to work on something like

know the way this project evolved was quite coincidental

this for so long, like an album.

and organic, but now we’re at a point where we can kind of go in a completely different direction or do anything,

In a previous interview you described the project as

which is as exciting as it is kind of daunting.

being ‘alive’ to you. Does it feel weird to have these living tracks in a fixed, recorded form?

Do you think that sort of narrative style is inherent to the project?

Will: I feel like we’re always kind of changing. Like, at our live shows the songs sound a lot different than the

I: It’s weird because with some of those songs you’re

recorded. That keeps it alive and I think that the idea of

almost an observer of yourself if that makes sense? It’s

doing it in parts was the idea that we could develop it as

nice writing that way, because you can detach yourself.

we go. And we’ve still got ideas for films and performance

Even if something in the moment is very emotionally

that takes it further than just its static recorded form

driven, being able to take that aspect from it allows you to kind of see it, which is nice

You use a lot of forms of media for Tapir!, was the project initially intended as music based or more

You describe the Pilgrim’s journey across the album

visual?

as being an attempt to find purpose. Do you think that was a reflection of you writing in lockdown, when you were thrown out of your routine and community?

Words by Eve Boothroyd, illustrations by Rory Wynn

I: I think the artwork definitely was that for me. The

To me that song involves multiple characters.

paintings I started during lockdown were very much like

You know, there’s the biblical kind of reference of the

escapism. And the earlier songs written in lockdown were

ark, and it could be read as a very typical kind of break

things like ‘My God’ which was very much naturally what

up track. But I think it really changed into something else

was happening in the world must have influenced that

over time

somewhat W: I think we had the first half of the song and then as In terms of the song development through each of the

we went on, maybe a year later, we got the second part.

member’s inputs, what would the standard process

And then it got this amazing sort of horn and strings part

look like, from start to finish?

added on after we even thought the song had finished, and it just took it to another level, and Emily and Will’s parts

I: The first album was very much a case by case process

just pushed it into being this completely heartbreaking,

for each song, which was really nice

tortured song. It’s kind of amazing to see how a song has so much life in it. It’s just a good example of the journey

Ronnie: There was a really nice feeling with the album

of the band

of everyone bringing something to offer to the project, you know what I mean? That’s how it felt like it came

With the choice of language of a Pilgrim, and tracks

together. It just seemed to come from a place of… it was

like ‘My God’, there is obviously a lot of religious

like, everyone sort of came into it being like ‘I feel like I

imagery and references across the album. Is that

could add something to this’ you know. That was kind of

something you were consciously trying to do, or did it

the feeling of how the album came together

just naturally develop?

I wanted to talk about ‘Broken Ark’, because it’s such

I: I think that the second act especially has quite a lot of

a moving and brilliant moment on the album. Can you

mythological and religious referencing. I think in general

tell me a bit more about how it was written?

when I’m writing songs there seems to be some kind religious connotation, subconsciously, and I don’t know

R: I have a story about ‘Broken Ark’ * laughs*

where that’s from. It’s definitely a topic that’s fun to kind of discuss, and personally I was brought up Christian, so I

R: It’s the reason that I kept asking them to join the band.

think that must have been an influence in some way

When the band played that one show before COVID I was like great! My friends are doing some really cool

There’s a lot of natural imagery across the album, why

stuff. Then over lockdown I remember that Fran from The

do you think that nature is such a prominent theme for

George (Tavern) posted a throwback instagram story from

you?

the set. And it was part of ‘Broken Ark’ and I was like ‘Oh my god, this is so good, it’s so beautiful, and I kept

I: It’s a pure form of escapism, I guess. Nature exists in all

playing the story over and over again so I sent it to Ike

forms and it’s very freeing, I guess, the idea of something

and basically said this is so good, please let me play in

being organic

your band. I just loved it R: Maybe there’s something to say for the setting of the That’s so lovely. And what was the story behind the

album being almost without the presence of a specific

track?

human life, if that makes sense. Like you’re not really sure if the Pilgrim is human, or something else. And the

I: I think that was an example of that observation thing.

figures on the landscape are sort of like, humanesque, but

That track feels like a prime example for me. I get really

not necessarily human. It’s kind of like a freeing thing,

worried it gets misunderstood a lot of the time, because I

almost a free space to just exist and move through. And

still don’t really know exactly what it’s about.

maybe it’s not even human, and maybe it’s a place where nature is pushed to the front.

Tapir!

Flip Top Head are something of a mystery. A rapturous

B: Yeah massively. We’ve tried a lot of different ways to

cacophony that is a real challenge to describe in a coherent

write, but we can’t really do it when someone brings a

set of sentences. They have made a name for themselves

whole song in, it’s all collaborative. Which brings us joy!

with their unique mix of soundscapes. At different times, theatrical, chaotic, haunting, uplifting, and energising, but

O: Yeah it’s fun times. Get the cans in. Just have a bloody

always compelling.

great jam.

Their self-described brand of ‘Orchestral Cult Rock’ is all

Speaking of getting the cans in to write a song, I heard

underpinned by their truly infectious joy. This phrase is

a story about how you wrote ‘Alfred Street’ … could

banded around too often in music journalism, but it could

set the story straight on exactly how it was written?

not be more true here. A: We all love David Byrne, but we know he’s a massive I interrupted Flip Top Head as they were recording their

fucking bellend. Unfortunately, I can be a bit David Byrne

upcoming debut EP, finding them arranged in an idyllic

in places. We had one practice that was shit. I was kind

family photo on Zoom before we dived into their world.

of hungover and cantankerous, which... I don’t rate. I’m

They were at pains to emphasise that they are NOT a cult.

very sorry because I love you all {gestures to the rest of

But I now feel completely indoctrinated …

the band}.

I’ve just interrupted your recording session, can you

We had another practice and Harry travels in from

tell us what’s coming soon?

Hastings. That’s two and a half hours of his day for every single practice. He had to get his train in 40 minutes,

Alfie: Yeah - we’re bloody excited! We’ve got one of the

but right then Bertie’s playing these fucking janky, not

coolest and best producers about in Theo Verney. He’s

very nice chords, and we wrote the best fucking pop song

done Lime Garden, Egyptian Blue, English Teacher and

you’ll ever hear over the top!

we’re over the moon to be working with him. B: The stars aligned. It was such a laid-back day, he makes you all feel so comfortable, then keeps all of your artistic integrity,

O: I’ve heard other musicians say that the ones that end

put his own suggestions in and this is gonna be... a

up being big are the ones that just fall out, fall into your

motherfucking great EP!

hands. Like bloody Wonderwall was in one session.

Ollie: It’s a sweet new studio as well. A new Brighton

That’s your Wonderwall then?

studio called Salvation. It’s like fancy shit. A: If everything goes well, it should be a good old football Bertie: We couldn’t stop smiling and laughing for the first

chant! Baaa da da daa bada da!

hour, we’re like, “How are we here?” Is that something that is part of your music in general? That joy and enjoyment?

Words by Sachin Turakhia, illustration by REN

The next Jeremy Corbyn chant? We just need a better

O: We played with them the other week for our headline.

politician than Keir Starmer…

It was scary stuff going on after them. They’re so fucking good.

A: What a wazzock! That brings in what you were saying about it not being Bring back the word wazzock! You’re recording in a

about a specific genre in the scene, that you can go on

Brighton studio now and you’re also at the heart of

after The New Eves. It’s different ends of the spectrum

what is an incredible Brighton scene at the moment.

entirely, but so beautiful at the same time.

What it’s like to be part of that? O: Everyone that was at the gig was loving everything. O: It’s the best place ever.

It’s not like people were just coming in for one act and that’s something I found in other scenes. When I was a bit

A: It is the best. Quite a few of us in this band, we’re

younger, I was gigging in Bristol, people just came in and

lucky enough to work within the Brighton music scene

watched their friend’s band and then left. Even the bands

as well. We’re all such active gig-goers, and it’s just the

that you were playing with don’t really watch you and you

best community of bands. The scene is created, not by a

don’t make any friends. All I wanted was what we’ve got

shared sound, but by everyone’s shared morals and values.

now. I feel so lucky. It’s so sick.

It’s all unity and there’s no jealousy. Instead, you build each other up. It’s beautiful being part of it.

That’s so wonderful!

B: The thing with the Brighton scene is that we don’t just

A: We’re all mates too. We were at the pub last night with

go and see these bands because they’re our friends. We

many Brighton music legends. We’ve got a chat with all

go and see them because we actually adore their music.

Brighton bands who all play footy together.

Brighton is just absolutely inundated with exceptional music and we’re spoiled here really.

Who’s the best Brighton band at football?

A: Let’s go around and say our favourite Brighton band!

B: Hutch.

M: My favourite is Ideal Living and Bertie’s playing in it!

A: They’re all really good in Hutch, but I can also nutmeg every single one of them!

O: I’m going to get in early and say Maximilian. O: Decklan McKenna as well! Bowie: I’m going to say Van Zon. A: Yeah man, Decklan McKenna came to one. He’s Harry: Off the top of my head, definitely Porchlight.

stupidly, stupidly good.

B: Glasshouse Red Spider Mite, they’re a new band doing

You’re working with Blitz Cat Records. How important

some really cool stuff.

are independent music labels and how’s it working with Blitz Cat?

A: Someone’s got to mention those long-haired hippies stoner fucks in Hutch.

Bowie: So important. Chris and Phil just have our best interests at heart. They’re genuinely interested, like the

Harrison: I’m really liking The New Eves at the moment

music and respect our opinions. They’re just two extra members and our friends.

Flip Top Head

O: It came together really organically as well. We just sent

Bowie: When he’s with the cult!

them the mix of the first tune and they replied in like an hour, with “Let’s do it”.

B: We are definitely not a cult!

Legends. That turnaround time is unreal.

I’ll put that disclaimer in for sure. What do you want people to feel after seeing the cult play live?

I need to ask about the description you give of your band because I’ve been trying to work out what exactly

A: I want it to be a proper cathartic experience. I hope

“orchestral cult rock” actually is … and whether you

it triggers deep, profound emotions and feelings. It’s

are actually in a cult?

supposed to be exciting and refreshing. I love it. I feel it myself, it’s emotional and musical catharsis every time I

O: All of us had to come up with three words that we

step on stage. I feel very special to be part of this project

thought described the sound and I said “orchestral cult

and to get to feel those emotions on a really regular basis.

rock”. It was when we were doing that photo shoot with the wedding dresses and kind of working on the culty

O: We had a couple of dudes cry at a gig in York, so I’d

vibe.

like that to happen regularly.

B: We had this one photo where, accidentally, Bowie was

B: A big thing is when we realise that the audience is

dressed in pure white and we all dressed in dark colours

really listening. We’re not a mosh-y band - it’s quite

and she looked like a deity.

difficult to mosh in 29 16.

O: Obviously orchestral, musical vibes. I feel like we’re in

O: There are some quiet bits in the songs where Alfie is

a cult sometimes when we’re on tour.

just on guitar, and it can go to literal pin-drop silence.

A: A cult of Jaeger and B.O.

A: There’s no kind of false pretence of it, or trying to be too cool for school, or any of that sort of shit. This is just

Are there any cult rituals apart from smelling and

genuinely who we are, with our instruments in our hands

drinking Jaeger together?

and who we are in each other’s company.

O: That’s pretty much it. But those two things we really

Marie: It’s lovely to see people acknowledging that we are

believe in!

having fun, together on stage.

A: On the last two tours, this boy here {points at Harrison} with the Lewis Hamilton Monster Energy Drink. We owe a lot to that. H: The only time I drink Lewis Hamilton now is when I’m with the band.

@drawren

One More Thing The Debut Album from

16/02/2024

To the right of the entrance to the ‘Women in Revolt!’

Due to its association with women and domesticity, it

exhibition at the Tate Britain is a record player with an

has been neglected for nearly four decades. ‘Women get

acid yellow vinyl spinning soundlessly. Through a pair of

written out,’ says Young, ‘I wanted to make the show

cumbersome headphones flow the voices of a neglected

because I had never been taught about women from this

past. Co-compiled in response to the exhibition by its

generation, they were completely absent.’

creator, Linsey Young, Curator of Contemporary British Art at the Tate Britain, and the Head of Music for Nations,

The exhibition expands the story of British art, mapping

Julie Weir, the 14-track compilation set, ‘Underground

a landscape of creative practice from previously

Rebellion in British Music – 1977-1985,’ features familiar

underrepresented voices. ‘I don’t want people to be

and lesser-known punk bands whose members are women.

embarrassed because they don’t know the artists,’ says

Among them are artists included in the exhibition, from

Young, ‘I didn’t know loads when I started.’ Speaking of

photographer, photomontage artist, performance artist,

the process of discovery, she explains, ‘I started with the

and co-founder of Ludus, Linder Sterling, to performance

feminist artists I knew and then asked everyone I met to

artist, author, and co-founder of Throbbing Gristle, Cosey

tell me about someone else.’ Piece by piece, woman by

Fanni Tutti. As the tracks slip from Slits’ ‘Typical Girls’,

woman, the network emerged but it is one that even the

to X-Ray Spex’s ‘Identity’, and Essential Logic’s ‘Aerosol

artists at its heart were unaware of. ‘Three quarters of this

Burns’, an often overlooked musical world rears its head.

is new to us,’ says Linder Sterling, ‘we pride ourselves

Timely, considering this year’s treatment of emerging

on thinking we’re knowledgeable, especially about our

female bands as a novel industry trend.

generation, but we’re not. Today we’re like cultural archaeologists thinking, “that was happening in 1982? I

Featuring the work of over 130 women artists,

had no idea.”’

the exhibition is the first of its kind. Presented chronologically, it charts how interconnected networks

The consequences of having neglected the presence of

of women made invaluable contributions to British

women in subculture continue to be damaging. This year

culture against a backdrop of extreme social, economic,

alone has seen a barrage of critique and hate directed at

and political change. Many of the pieces have not been

alternative female-led bands.

shown since the 70s, either due to censorship or because patriarchal standards deemed them unimportant. The Postal Art Event for example, was a project active between 1975-77 which encouraged women at home to make and exchange small, inexpensive artworks with each other through the post.

Words by Natalia Quiros Edmunds

The rise of Picture Parlour and The Last Dinner Party has been accompanied by a disproportionate onslaught of misogynistic complaint and suspicion regarding their emergence. Rumours surrounding their rapid rise centre on false accusations from sleeping with producers, to being the daughters of footballers, paying their way to the covers of magazines, and benefitting from an industry box-ticking diversity exercise. They’re arguments of a bygone era, almost indistinguishable from those directed at the women whose works now fill the Tate Britain. “It’s there but in a different language,” says Linder, “the critique is positioned perhaps in a more sophisticated way, but it’s still somebody somewhere saying, ‘these women are not doing what we expect them to do, therefore, they’re inadequate.’” Despite being forged within a context of struggle and protest – including but not limited to the British Women’s Liberation movement, the fight for legal changes impacting women, maternal and domestic experiences, Greenham Common and the peace movement, the visibility of Black and South Asian Women Artists, Section 28 and the AIDs pandemic – the exhibition’s pieces revel in a playful joyousness, and at other times, a

Linder, Untitled, 1976. Purchased by Tate in 2007. © Linder

softness in the face of brutality. Describing the experience of being subjected to violent harassment by the press, Tutti stresses not internalising the struggle, ‘if you take it personally, it’ll not only affect how you feel but how you create.’ Capturing this resistance are a set of 30 photographs which form part of the exhibition and document Tutti’s first solo art action at A.I.R. Gallery in 1976, Woman’s Roll, in which she cut her clothing and created artificial wounds using stage makeup and crushed berries. “I moved slowly because it was such a gentle space. There was nothing rushed or brutal about it. It just felt so beautiful, a moment with myself.” “Find that deep pleasure in what you do,” echoes Linder, emphasising the need to refuse to participate in the idea of battle, “a new dialogue has to emerge. If the enemy is invisible, and the enemy is pernicious, and the enemy is always there. I wonder if a good starting point is that we stop that idea of warfare and just push what we do to the limit. If we’re pissing people off, let’s really piss them off

Rita McGurn, Untitled Rug and Figures, 1974-1985.

with a sense of joy.” In 1982, Linder did just that.

Photography by Keith Hunter

Performing with Ludus, at Manchester’s Hacienda, an old boy’s club with a policy of showing pornography as entertainment, she wore a dress made of meat and revealed a dildo to the unassuming crowd. “That sense of joy as I took off that meat skirt, I remember thinking, nobody knows. The musicians didn’t know!” Like many of the works that form part of the exhibition, the footage from that performance hasn’t been shown for decades, but it demonstrates the need for joy and self-fulfilment in the midst of struggle. “It is a battle, we know that, but that just keeps you resentful. It’s draining, exhausting. We’re not going to engage with that idea of battle because ‘living well is the best revenge’ and it is actually the best thing you can do.” Anchoring oneself in lineage and community is crucial to constructing that internal defiance, “the more you look backwards and across, the more you get a sense of self worth. It gave me a sense of ambition, I wanted to join that lineage even if it took me half a century,” explains Linder. This is where exhibitions like ‘Women in Revolt!’ are invaluable, they reveal those who came before. “I want young activists to realise that they’re not on their own, there are tools, there are methods,” says Young. Which is

Bhajan Hunjan, The Affair, 1987-8. Tate. Presented by Tate Patrons 2023 © Bhajan Hunjan. Photo by Prudence Cumming.

not to make the mistake of seeing community or lineage as something prescriptive or uniform. For many of the artists included in the exhibition, community didn’t exist in a traditional sense. “It wasn’t the fact that we had to be part of a huge community or movement,” explains Tutti, “you just need to know that there are people all over the world.” Having worked independently, Tutti describes how “people make the mistake of thinking that the only people that will understand what I’m doing, look like me, talk like me, and do what I do, and that’s not always the case.” When Tutti began her life as an artist she worked in factories, “I had the time of my life. There were only about three guys in one huge factory and the rest were all women. It was laughter every day and we all understood each other. I would never have thought those people would understand me or accept what I had going on. They

Marian Elliott-Said (A.K.A Poly Styrene),

more or less said, ‘you’re fucking weird but we love

Germ Free Adolenscents, 1977.

you.’ We accepted each other for who we were. That’s a

Courtesy of the Polystyrene Estate and Archive

community.”

Women In Revolt!

As the first exhibition of its kind to bring together a diverse group of women artists, ‘Women in Revolt!’ is evidence that women have always been there, it’s just our lens that must be adjusted to perceive them. “We will not be silenced” closes Linder with a wink, whether it’s “a pair of pink sparkly tights that gives you the will to live in the midst of global warfare”, or wearing a dildo at an old boy’s club, “be even more fabulous, be even more yourself.” She smiles, “we’re going to enjoy every step of the way.” The ‘Women in Revolt!’ exhibition at the Tate Britain is open until 7 April 2024. The Limited edition vinyl, Women in Revolt! Underground Rebellion in British Music – 1977-1985, is available for purchase at the Tate Britain or online.

Gina Birch 3 Minute Scream 1977 © Gina Birch 34

Kai James is the frontperson of a four-piece garage rock

Margate, and then Brighton for Mutations. That was

band from Australia. In January, they signed to Sub Pop

really cool. We played at 4pm but it was a full room and

whose roster has seen the likes of Nirvana, Foals, Father

everyone was really into it. Then Southampton, which was

John Misty, and Weyes Blood. In May, they travelled to

about seven people but seven people who really wanted to

the other side of the world and played the UK for the first

be there so that was really fun. We were all just back and

time. In October, they returned and played the Sebright

forthing for the whole show, everyone was kind of having

Arms in London. In one song, they injected a tired and

a chat.

slightly exasperated crowd with an energy and mania that most bands only dream of. And all this with longtime

How did it compare to when you were here in May?

friends Jayden Williams on guitar, Fraser Bell on bass, and Kai’s fifty-something Aunty Liss on drums. I sat

It was much more relaxed in terms of being more

down with Kai in the window between timezones on his

comfortable and adjusted to touring in general. I think

return to Australia to talk London, LCD Soundsystem, the

we were received really well from people who had seen

Legendary Liss, and magic.

us or had told friends to come and see us. It was nice to have that added bonus the second time around. That’s the

You made it back to Australia?

weirdest thing, travelling across the world to find people that know the band or some of the songs.

Yeah, we landed on Tuesday but I got a major hives breakout since so I’ve just been dealing with that which

I know you’re a big fan of LCD Soundsystem, has

has been…a lot.

having your Auntie Liss on drums remedied what James Murphy calls a ‘borrowed nostalgia for the

It’s London withdrawals.

unremembered 80s’?

Let’s call it that.

Sometimes we get comparisons coming off stage of those older bands where I’m like, ‘No, I’ve never really listened

How was the tour?

to The Smiths or Talking Heads.’ And I think that’s where her influence comes through. It’s cool to have that grab to

We had a few shows, London was at the Sebright Arms.

younger and older people.

Which was a lot of fun…

What’s it like having your auntie in the band?

Thanks for coming! That was probably one of the

It’s funny you say having your auntie in the band, it’s

favourites, we hit a stride and had four or five really great

never been a consideration for anyone. She’s just another

shows in a row. I think for me personally, sometimes it’s a

bandmate more than my auntie. But in the touring Liss and

special feeling you know? And that was one of them.

I do clash quite a bit! I think because of the relationship. I feel you clash more with people you’re comfortable with

Where did you go after London?

and have that underlying love and trust.

Words by Natalia Quiros Edmunds, illustration by Zhigang Zhang

Have there been challenges specific to that

And then Miley Cyrus is nearly palatable, but I’m really

intergenerational relationship?

obsessed with watching their career trajectory. It’s the same with Harry Styles, that kind of self branding is very

Yeah, definitely. In some regards it’s like touring with

interesting to me. And with Billie Eilish, I would say

your mum. Trying to find that balance of, ‘hey, I’m a

there’s definitely some music that’s more than palatable.

grown up, I can take care of myself’, and she’s trying to get used to the letting go. There’s a bit of that going on.

I’m not sure I’m gonna quote you on that haha.

Which is cool and I get it, it’s all coming from a place of love. It’s definitely a unique dynamic you wouldn’t

Yeah, I’ll ruin my chances of a collab down the line.

normally have between bandmates. Your Instagram bio reads ‘where there’s music, there’s How about creatively, do you share your taste in

magic.’ You’ve also spoken about having a vision

music?

of playing Amsterdam and it happening. Was that manifestation or are you a witch?

I think she can listen to a lot of what I listen to but I struggle with a lot of hers. She’s into a lot of 90s grunge

Haha that Instagram bio was very drunkenly written by

which is just so dry to me haha. Part of the Nirvana scene,

18 year olds. But I guess I agree with the sentiment and

the Sex Pistols, Dead Kennedys, all that stuff because she

it kind of applies, you can feel that magic more generally

was in those kinds of bands. I really struggle with that

in a live setting. And yeah, manifestation and sitting with

but she can definitely get into a lot of what I’m listening

and allowing is a very big part of my life in general. Just

to and we share a lot of that. There’s definitely common

letting things come to you and never gripping to ideas. I

ground.

feel like the less I grip to stuff, the more things happen, and it’s not necessarily exactly what you want but that’s

And what are you listening to?

okay. It’s the trust in someone looking out for you, if that makes any sense. I also get deja vu with dreams all the

A ridiculous amount of Ethan P. Flynn, he’s my favourite

time which is a bit besides the point but I had some crazy

artist right now. We got to see him in May, it was nearly

ones on tour. That’s magic right?

the highlight of the whole tour. But more consistently LCD, Arcade Fire never-endingly. And then just a

Close enough. How has it been since signing to Sub Pop

spattering of all kinds of singles - knowing all the words

this year?

without exactly knowing who the artist is because I never look at my phone.

Fucking insane. I don’t think we ever expected to leave the country or sign to a label, so it’s been quite a bit of

You’ve spoken about Miley Cyrus’s part in coming up

adjusting. I feel relatively adjusted now, and the whole

with the lyrics of ‘All I See,’ and I couldn’t help but

Sub Pop team are the kindest people on earth, everyone’s

notice your Billie Eilish t-shirt at the Sebright. What

just so down to earth, passionate, and keen. It’s been

role do these pop icons play in the band?

really great.

It’s hard to say. I don’t have Billie Eilish or Miley Cyrus playlisted…Billie Eilish is palatable. Quote of the century.

Girl and Girl

What’s next? A record, I’ve been told I can’t go into detail…but we’ve got a finished record which I’m very excited about. It was a lot of hard work and it’s sounding great. That’ll come out next year. It’s like a semi-concept album…kind of. How much of a departure is it from the old stuff? I think it’s a departure in the sense that it’s ramped up in production. But I don’t think musically it’s a departure. A lot of our music is all pretty different and I feel like it sticks to that. How was the experience of recording it? It was two very intense weeks. Sleeping, eating, recording, all in the same space. Which is kind of how we’ve always done it. The Divorce EP was two days on a farm, so it’s pretty similar apart from the jump in studio spec. The challenge will come when we start playing it. Usually a song gets set in stone live and we’re all pretty well meshed about it by the time it comes to recording so it’s gonna be weird to do it the other way around. And how’s Liss holding up post-tour? Oh, it’s fucking crazy. I get to the end of the tour and I feel like death. Liss is like, past 50. Insane amounts of respect for what she’s doing, which is what I’m doing but double my age. It’s a very, very different thing. But we do tend to take it pretty easy. Liss and I especially, I didn’t have a beer until the last night because I’m too stressed on making it work. And I think Liss feels the same, it doesn’t take much to tire yourself out. It’s incredible what she’s doing. I’m her biggest fan. I was too starstruck to speak to her at the Sebright and I really regret it. Next time, if you’re at a show, I’ll introduce you. Perfect, I have that in writing.

@z_zhigang

Having seemingly developed an immense disgust for his

of course - you get maybe a head bob or two. But I’m

2018 slowcore masterstroke ‘Yawn’ - its de facto follow-

there, like [mimes exhaustedly playing guitar] and I look

up sees Merseyside’s Bill Ryder-Jones go full circle back

up after I finish, and everyone’s enjoying it. But I’m like,

to the orchestras and folkish turns of his earlier, lusher

“why am I doing that, when that’s not the vibe at all?” So

solo output - albeit at much more biblical scale. Out in the

that’s gone. [Yawn] was just a lazy album. A lazy, safe

new year, ‘Iechyd Da’ (Welsh for ‘Good Health’) might as

fucking record that.

well have floated down from heaven. With a maximalist production soaking us in its euphoric light, Ryder-Jones

You mention going back to old records like ‘The Bad

ushers forth a sequence of heart-melting anthems that

Wind Blows Through my Heart’, for example, and

dance between overwhelming hopefulness and scarred,

you’re actively referencing songs from that record

shadowy desperation, one childrens’ choir at a time.

[on Iechyd Da]. Was your boredom with ‘Yawn’ a motivation for you to look back on these first albums

Meeting up with Bill at The Social in Soho, and beset

and think, “yeah, I prefer that, I want to do something

by various combinations of tiredness, snotty noses and

more like that now”?

hangovers - on both sides - we discuss the unlikely influence of Wu-Tang Clan on his latest record, and how

Yeah. Largely. [Iechyd Da] was definitely a conscious

the loss of his brother in his twenties has indelibly shaped

decision to make a record that sounded more like the

his entire solo career to date.

records that I love and listen to a lot.

I’ve spent all week listening to your albums, and it’s

Speaking of which, you have the Gal Costa ‘Baby’

been lovely! I feel they’ve all, up to this point, been

sample floating through at the very start of the record.

especially intimate, written in and for small, homely

Are those classic 60s, 70s Brazilian records, with these

spaces. But ‘Iechyd Da’ feels like it’s ‘reaching out’

big orchestras, something you prefer listening to?

more. It’s weird. You know when you split up with someone, Sonically, it’s more ambitious, absolutely! It’s still meant

and they get certain things and you get certain things…

to be a bedroom record, but for people…[lengthy pause]...

Brazilian music: I can’t listen to that shit anymore. I was

it’s not fast, is what I’m saying! It’s not loud. I’m glad that

put onto it by an ex. I used to play a lot of that stuff. I was

you said that. I think it is an odd record. No one’s really

always fascinated by it. So colourful. Rhythmically, it’s

said that it’s odd yet.

out of this world! But it’s just not in my blood to be able to properly understand it. You know what I mean? I’m just

From what you’ve done before, it’s super different, I

so fucking white! [laughs]

think. I also wanted to talk about you as a producer. As It’s mad ‘cause It makes sense to me. It feels a bit of a

‘Iechyd Da’ is more ambitious than its predecessors,

best of, you know, taking nice bits from each record and

was it more difficult to make from that perspective?

ripping myself off for once. Again, I didn’t want to be safe. ‘Yawn’ was very easy But there isn’t that sense of a ‘rock band’ you’ve had

to make because there was a blueprint there: Red House

with the last couple of albums…

Painters, Duster. There you go. Boom! Where with this, it was important to push it a little bit you know? Some

Nah, fuck that! I’m way too old. Sometimes you catch

things don’t work. The key change on, ‘We Don’t Need

yourself. I noticed it when we were touring ‘Yawn.’

Them’? Probably a step too far, if I was being super

The people who come to my gigs - there’s no mosh pit,

critical. But that’s fine!

Words by Elvis Thirlwell, illustration by Josh Whettingsteel

How do you filter your ideas if you’re producing and

It feels like you can touch it. It’s always just been there.

writing it all yourself?

My Dad would be like “we’re going on holiday”, and we’d go to a youth hostel for two days. Then somewhere

Just time. Obsession and time. A huge amount of it is

else. And it was great. I fucking loved it. But I always

drafting, you know? I was doing [the album] in and

remember being struck by the sound of…everything

around studio work, and time off, and evenings. When I

looked the same where I was from - but the sound, and the

did have a couple of weeks on it, it would largely be: work

road signs - were just like something out of a book! It was

on the idea from last night in the studio; put some ideas

a great place for the imagination. It’s a beautiful place,

down and get a feel for it. Then go to the pub and listen to

with beautiful art, beautiful language, beautiful writers.

what I’d done and make notes. And then go back in. It’s

But yeah, it’s always been there, and Gorky’s [Zygotic

an internal [thing]: you know when something’s a bit shit.

Mynci], of course, is my favourite band! It’s always been

And you can waste so much time, because there’s always

this magic, safe place.

something alright in the shit tune! Why do you so often look to these memories of your Another specific song I wanted to talk about was ‘This

past in your music?

Can’t Go On’. With the lyrics, the hugeness of the sound, everything, it feels like a brave song to make.

[sighs] Because it’s, fucking, art? I’m not overly happy with the way life’s turned about. I’m forty years old.

With ‘This Can’t Go On’, it was just that energy of ‘I

I don’t have a partner, don’t have kids. It’s trauma,

Can’t Go To Sleep’ by Wu Tang. Something about that

probably. That’s a huge part of it. I’ve tried to make

tune has always hit me. But yeah, [“This Can’t Go On”]

sense of, or monetize, my grief! [laughs] Lots of people

was fun! I just love the drums! I said to the drummer, “you

go through death, and losing someone young. Some

know when I don’t let you do anything fun? This one just

people deal with it better than others, but [my Family]

go, ‘fuck it’”. Usually he’s just doing that [thrums simple

fell apart completely. My mother is nowhere near over it.

beat on the table]. It’s the shittest job in rock being my

[My parents] split up. I fucking went mad in my twenties

drummer!

tryna cope with the fall out of it. But that’s the truth, you know - that’s the singular, one thing in my life that I think

Is it one of your favourite albums you’ve made?

I draw back too. I know people have lost siblings and have dealt with it much better than our family. But, what

Yeah yeah! You’re always going to struggle to beat

are you gonna do? That’s the defining thing, why I’m so

something like, ‘If…’ and I’m always gonna love ‘A Bad

obsessed. Before [my brother] Daniel died, my childhood

Wind Blows in my Heart’. But certainly ‘Iechyd Da’ is the

was fucking great. We were a cracking little family. And

best thing I’ve done in years and I’m very proud of it.

you see that go [clicks fingers] just overnight - the change in everyone. It’s not easy to get over.

Changing tack a little bit. I wanted to talk about Wales, and Welshness. A lot of your music seems to have a

I guess that’s all my questions, but to end on a lighter

strong sense of remembrance, of looking back at where

note - any fun plans for Christmas?

you came from, and where you grew up. This album is looking at a different part of you and I just wonder

Did you not just listen to what I just said?

how this affected the music, if at all? [embarrassment] I don’t really have a great connection [to Wales]. Aside from the fact that my Grandfather came from there and

[laughs] Nah, I’m only messing! I actually do. I’ve

brought the family to Liverpool from the valleys, we don’t

got family in Manchester, and I’ve not seen them in

really have that family link. But we would go on holiday

three years, so I’m dead excited to see them. But yeah,

there. And in the little village I lived in, I grew up on the

Christmas…fucking hell. It’s 2023 and you’re still doing

sea. [Wales] is there, you know?

Christmas? Shit the bed…

Bill Ryder-Jones

I play in a band called Folly Group which owes an

And then we were a little burnt because I think we kind of

incalculable debt to Philip Frobos and Frankie Broyles,

realised we hadn’t taken a break from writing records and

or Omni. Their band galvanised us to start our own.

touring since like, like 2015 until 2019. So we were just

Theirs was the sound we stole in order to find something

like, all right, let’s just, let’s just take a year or so off. And

resembling our own. In fact, me barking from behind

then that kind of elongated with the situation.

the kit was meant, initially, to allow Louis and Tom to concentrate on intricate, “Omni-style” guitar and bass

I guess we started writing again in summer of ‘22. Kind

interplay.

of felt like back against the wall after the pandemic and everything. So gotta make it good, you know?

When I sat down with Phil, I didn’t downplay his influence. This freed us up to have a long, meandering

In preparation for this, I was looking back at old

conversation about constructively channelling inspiration,

interviews my band’s done in your position for So

collaboration, storytelling and Omni’s remarkable fourth

Young before, and I was reminded that we found out

album, ‘Souvenir’, which Sub Pop will release in February

that Coronavirus was declared a global pandemic

2024.

five minutes before going on stage at the Old Blue to support Powerplant. We gave, possibly, the best

On Souvenir, the band - now formally a trio, with the

show of the first couple years of our band, as we were

addition of drummer Chris Yonker - disguises 11 pop

conscious we might never do it again.

songs as labyrinthine marvels of arrangement and instrumentation, impossible to reverse-engineer. Each is

Yeah, I was gonna say regarding your guys’ group, we’ve

a journey unto itself. I can’t wait to hold a copy in my

been exploring and there’s great stuff there.

hands. Shit, thank you. I really, really appreciate it. I should First of all, how’s it going? We haven’t heard from

probably admit, then, that we learned how to do

Omni in a while. What’s been going on?

what we do now by ripping off Omni for the first six months or so. Thankfully in stuff that never came out.

Phil: Yeah, I guess after ‘Networker’, we did like

And in one or two that very much did come out and

marathon touring, which ended up being the move just

coincidentally stream best for us.

before 2020 because that one came out at the very end of 2019. You know what happened after that.

Ha ha!

Words by Sean Harper, design by Josh Whettingsteel

I think if you have trouble admitting that you’re really

Take ‘Typical System’, it’s the one I know best. It goes

inspired by something you’re possibly anxious that

to so many places. All are refracted through the Total

you’re ripping it off, in which case, maybe you are. Do

Control prism so it’s still coherent, but it’d be a feat in

you know what I mean? But I also appreciate that in

itself to sound like something that sounds like so much.

the early days of a band, ours notwithstanding, it really pays to be a chameleon and, honestly, to rip things off

I feel like they’re the only band that sounded like

because it really helps you work out what specifically it

Kraftwerk and I guess hardcore, or something like that, at

is that you don’t do. I don’t know if you can focus your

the same time. Maybe not hardcore, but just something.

influences constructively right off the bat, you need to

Noise rock. I don’t know. Sexy, sexy punk music, sexy

try various things and see what works, right?

punk music and Kraftwerk. It seems like y’all’s band kinda likes to jump some styles a bunch as well, which is

Yeah, I think that’s a good exercise to find your voice.

cool.

Like, I mean, I could, I can also tell you that in the early days of our band, again, a lot of this stuff never came out,

Yeah, I think that’s definitely a projection of like

but I was very influenced by that band Total Control...

restlessness more than an informed decision. However, it has become a thing that we can say we do, which

I think ‘Typical System’ might be my favourite guitar

is quite convenient, I guess, but it’s kind of a happy

record of all time. It’s a really big one for me.

accident.

They haven’t made a bad one. And I think that they’re

Mm-hmm. Something that I really enjoyed when I was

actually a band that’s kind of been epically ripped off

listening was, I think, ‘Strange Neighbour; and ‘Big

and used by a lot of people. But, I remember I was like

Ground’ and an older one… ‘Butt No Rifle’. There was

“I know I kind of want to be assertive, but I’m not as

like, when I was reading your press release and listening

Australian as that guy”.

to these… I was reading that you were into The Specials a lot. I was getting some like, Fun Boy Three in some

Ha! They seem like everybody’s secret. They come

of it with the like… it’s simultaneously a big chorus and

up a lot when we have discussions with bands we

not. It has melody, but it’s a sloppy kind of singalong,

might consider peers about their favourite music. I’ve

which is really nice, talking about ‘Strange Neighbour’ in

always yelled about how much I love ‘Typical System’

particular. It was also refreshing because I fucking love

whenever pressed. I actually feel as though they’d be

The Specials and a lot of the stuff you guys referenced.

impossible to rip off.

And I feel like it’s really annoying that nobody knows any music history anymore.

Omni

When I did my solo record and some of the past Omni

That’s an interesting question. I mean, we, I guess it

stuff, we’ve referenced The Jam, and I’ve referenced The

depends on like, if you’re talking about overdubs or the

Specials and other stuff.

initial part of the song and all that. I mean, you know, a big part of it, initially it’s kind of like Frankie and I

‘Souvenir’ feels different to your previous records

like beating out, you know, the clay mould or whatever.

in ways we’ll get to in a minute, but you’re still the

We’ll be like these parts are cool but that part kind of

storyteller you’ve always been to me. I’ve always

sucks, slice this part in half, you know. Usually like a

got a sense of pretty richly drawn characters from

whole lot of less is more with us, which I’m sure you can

your lyrics. But this time, someone else, Izzy from

tell with the song lengths. And then, I mean, Frankie is

Automatic, actually physically embodies those

definitely like, he’s the detail man. He puts hours in. And

characters. Why was now the time to start doing that?

yeah, I mean, and as you said, he just has such a distinct fingerprint and all that. He knows the difference between

I think it was just kind of a random idea because we were

pop and intricacy and how to blend them into the perfect

almost done writing the record and we had done that

cool.

tour with them the fall prior, 2022. And we just had so much fun with them as a band. We kind of really hit it

Yeah, I totally agree. That kind of gets to what I meant

off personally, which was just really refreshing because

by that question. To put it really, really plainly, some of

you know how sometimes you do a tour and it’s amazing

the instrumentation on some ‘Souvenir’ is so complex I

like that. But most times you do a tour and it’s like, “hey,

can’t imagine where it began. Everything seems to have

good to see you again. See you later”, and that can be it.

just materialised all at once.

Yeah, we did that. Some are more special than others. And I guess there was just a lot of fun and joy on that tour.

Well that’s really sweet of you to say. I think a lot of that

And it just seemed like creatively we were kind of similar

is just how great Frankie is with overdubs. I mean, he’s a

minds.

master. I try to imitate it sometimes, but you know, like for instance, the song ‘International Waters’ on the new

That song ‘Plastic Pyramid’, Frankie retooled it entirely

record, like he… I feel like it really transformed the song

because we had like a whole, there’s a whole other version

when he introduced the piano aspect to it. Like that was,

of that song that I think should probably be like, you

you know, it was gonna be pretty minimal. And then all of

know, like a B-side or something at some point because

a sudden it’s like something off of Lou Reed’s ‘Berlin’, or

it’s just, you know, for fun. But yeah, he retooled it and

at least in my mind.

then, in that mindset, I kind of was thinking that it would be fun to do something a little different. I started thinking

You used the word minimal. I feel like I’m listening

about the B-52s and Lee and Nancy and that kind of thing.

to a very measured and very controlled record, but

And then we invited Izzy and she was like, just get me

I don’t feel like I’m listening to a minimalist band

a ticket. So we booked her a flight over to Atlanta. She

anymore, as I did with your first two albums in

came over and killed it.

particular. Were you starting to feel a little grass-isgreener, a bit held back by guitar, bass and drums?

That’s lovely. I feel like on ‘Souvenir’, there’s some

Limitations can really help, but there’s just so much

kind of battle going on between like really instinctual

more going on instrumentally now.

pop and like a book and something really meticulous and finely tuned. When you pick up a guitar to flesh out a vocal line that just struck you, you’re not playing parts like Frankie’s, right? It kind of made me wonder where the bulk of the time is spent in your songwriting.

Photo by Gem Hale

Yeah, I don’t think that’s the case as much as I don’t

But then it ended up being really fantastic. Like that was

think we felt held back. I remember talking with Frankie

the low and everything else was great. But I think just

and us having a moment where we’re like, okay, well,

don’t have any expectations at all. And then manage your

we know how to write our songs pretty well at this point,

food, your drinking and your sleeping as much as possible.

which I know that sounds kind of crazy to say, but I think

Because the more you deviate from that, the more fucked

you would know what I mean. Yeah, like, you know, it’s

up shit’s gonna happen, you know?

like: “we did that”. We did ‘Deluxe’ and ‘Multi-Task’. And then we kind of, I know when with this record, we

And the harder it probably becomes to see the

really, like the big thing that we were aiming for was

funny side of two people showing up to see you in

just like immediacy and dynamics, like right off the bat,

Copenhagen. Lastly, what are you looking forward to

which was kind of like colliding the two ideas of like the

this year outside of the band? Outside of the record,

spontaneousness of our original band ideas. And then like

outside of touring?

in ‘Networker’, we were really trying to push it and push for more intricacy, like we got really into Steely Dan.

Um, well, you know I mentioned earlier, my wife and I

Yeah, and I think that some of that is, this is kind of like

have a son, and he’s going to turn one year old in March.

the marriage of those two ideas.

So I’m looking forward to that. I’m just hanging with that dude.

…Okay, I want to just close with two pretty general things. So our album’s out on January 12th, just before

And then yeah, just can’t wait to be back on the road, back

yours. And in March, we start the longest tour we’ve

out there doing the thing we love the best.

ever done by miles to promote it, which we’re obviously insanely excited for. But you guys are like road dogs, as they say. So I was wondering if you devised any coping strategies or like lateral thinking techniques for playing to like three people, hundreds of miles from home. Hahaha! Coping techniques. I think it’s just like, just have, like, no expectations at all. Like I think the first time we toured Europe with this band, the second show, like the first show was a festival so it was fun, you know? But the second show was in Copenhagen and I’m pretty sure nobody came. Like maybe there might have been like two people paid or something like that, but it was fucking brutal. There might have been two people, but I don’t know. Anyways, it was pretty brutal. And I remember thinking like, if it’s gonna be a month of this, I’m not sure what I’m gonna do.

shop.soyoungmagazine.com

In July 2021 Sophie Spratley graduated from Kingston

‘Before milk white, now purple with love’s wound.

School of Art with collection ‘In Your Dreams’. Right

Maidens call it love in idleness.’

around the time she adopted Nettle, a little black pet rabbit, who currently roams free in her home in Bristol

The quote is about how a white pansy flower is filled

acting as both muse and source of comfort. A month or

with a love potion. ‘Love in idleness’ is the folk name for

so after graduating, Sophie had her first order through

pansies. This plant is what the naughty pixie Puck uses

Instagram. From networking in person and online she

to cause the wrong people to fall in love in the play. I

found herself at a party in one of the most iconic fashion

loved this idea visually as well as feeling it is an accurate

stores in the world – Dover Street Market, subsequently

explanation to how some love can feel. The flower being

they launched her brand in July 2022. Sophie’s alias

bruised purple is illustrated on a bodice as well as pansies

and brand name, rabbit comes from an affiliation and

featuring throughout the collection. You will see little

almost spiritual connection to the farm animal and it’s

innocent milk bottles knitted in intarsia stripes along a

inquisitiveness, heightened senses and perseverance.

miniskirt too.

rabbit has since produced collections for SS23 The Adventure, AW23 Battle and most recently SS24

What is your creative process like? From concept to

Lovesick. These have been stocked internationally in some

reality…

of the most prestigious stores. This year with the support of interns, friends, family and her showroom Awaykin,

I like to start by mind mapping about how I am feeling

rabbit has orders from more international stores, dressed

and what visually can explain that. My fashion designing

one of the hottest bands right now, The Last Dinner Party

really feels like art because it all must have a meaning

and has recently been featured in Vogue. We spoke to

that is related to real life. I do also go to vintage stores

Sophie ahead of her rabbit party at Strange Brew in Bristol

or markets to source fabrics, buttons, and lace. Pieces

where she kitted out the live acts, Avice Caro, Pem, Mary

I source can take a while to find their place with the

in the Junkyard and Baby Vanga. On the night we also

handmade ceramic heart shaped buttons I bought three

launched our very limited edition collaboration t-shirt,

years ago only finding their home in my Lovesick

which is available now from our shop.

collection that was in Vogue this month.

Can you explain a little about the narrative and story

I go to galleries, gigs, archives, botanical gardens and

telling in your work?

look through books, memes, and films to then illustrate the natural world that can be hand screen printed onto the

The story telling aspect is important to me. I love the

fabrics. Then the garment’s shapes are developed from my

idea that I create mythical stories with symbolic animals,

pattern cutting and sampling referencing films and clothes

plants, and sometimes vegetables to explain something

in my wardrobe. The print and knit patterns are where the

that is happening in my life. Family who needed my

most development is happening. Draping is another way

support, who supported me, immortalising a night out and

of designing I am curious to reconnect with in the coming

people I loved, are all represented in different ways. These

collection.

are created in reference to film and literature as well. The most recent collection ‘Lovesick’ I focused on a quote from Midsummer Night’s Dream.

Words by Josh Whettingsteel

What’s been the main challenges starting your own brand? My main challenges are space, money, and time. So everything. I am still working from my small bedroom studio, but dream of moving into a separate studio. I started rabbit by making everything myself down to the printing of the fabric which kept my costs low, but with quantities quickly becoming unmanageable I started production with a small atelier in Somerset. I often daydream about having a business partner or investor in rabbit and it’s something I would be interested in finding as although I am getting to grips now with my endless spreadsheets and costing; I wish I could spend more of my time designing and creating. I also do all my own PR – reaching out to magazines and of course bands which I adore. Networking and partying seem to go well together but since moving out of London to Bristol I wonder if my brand would grow faster in the capital. Bristol’s slower pace, cool and supportive music scene, and the lovely friends I have made here plus proximity to the ateliers make staying here most appealing for now. However I do wonder how returning to London would affect my brand. What’s the main inspiration behind your designs? Every season and piece have a unique story to it but there is a distinct style to rabbit where each garment leads quite seamlessly into the other. The classic empire line dresses are inspired originally from a film, The Virgin Suicides, the off-white floral prom dresses with puffed sleeves and rounded necks proportions were exaggerated into a rabbit staple. Outfits that have a childlike joy of dressing up feeling to them but with a tone of power and darkness is also something I seek to create. Pre-Raphaelite women, sisterhood – whether represented by the friendship in Daisies, a 1960s Czech film, or my own relationships and the meanings of flowers in Flora Symbolica have all been strong inspirations on every collection so far. The anthropomorphic animals from Fantastic Mr Fox and Photos by Lluna Falgas SS24 lookbook make up by Bea Sloss

Beatrix Potter are essential reference points too. Adding new tones and focuses keeps the collections fresh but with the same feeling and rabbit stamp.

rabbit

What are some of your earliest memories of fashion

Harry Styles launched two big designers right now Harris

growing up, how did that obsession begin?

Reed and then S.S. Daley. I hope I can grow organically with a band such as The Last Dinner Party who I adore.

I was very lucky that my Mum loved making us costumes.

Abi modelled for rabbit just before they blew up in

So, an early memory includes her making me and my

SS23 as well as a couple of months ago for my Lovesick

twin Bella squirrel costumes and a cow print hat and

collection SS24. The band continue to wear rabbit for a

matching swing dress. The hat I still wear today. I had a

lot of their shows and we stay in touch. I want to take the

very creative childhood; we drew a lot with our Mum and

brand to international magazines, more stores and more

played crazy imaginative games with our Dad. Memorably

direct clients! Also I really hope to do some collaborations

him pretending to be a dog with tights on his head.

with larger fashion brands.

Although this isn’t strictly fashion it gives you an idea of how imagination and clothing were important to us.

I love creating all the high fashion catwalk pieces, this is the art that I was originally drawn to, but I am also

Another early memory of fashion was an amazing book

interested and excited to bring more affordable and

called Fairie-aility (which was published in 2002 when

wearable pieces to rabbit. My little muslin scarves have

I was 5) which was about fairy fashion and clothes. It

that essence of rabbit for every day. There will be some

was filled with photos of incredible dresses made of real

available to buy at the upcoming show and one day I will

pressed flowers. I had the fashion bug from a young age

list them on my website – they always sell out so quickly

and drew a lot but never really believed that I could ever

on my Instagram stories it has been impossible to even list

do it as a career.

them!

When I was doing my A-levels I came across the designer

Is there a brand in particular you’d like to collaborate

Molly Goddard, this was on Instagram, and that was a

with or design for?

game changer in believing there was a space for the world I wanted to create. I loved her street cast models, childlike

There are so many amazing brands I would love to

feminine silhouettes and sweetness that had somewhat of

work with, and I have had the pleasure of working with

a bizarre macabre undertone. Although my pieces look

Story MFG whose comfy and planet loving designs plus

quite different, and I chose to lean more towards natural

sustainable credentials are a massive inspiration to me.

fibres of muslin rather than polyester tulle she was my

Our collab comes out in 2024! For future collabs I would

first fashion love. That’s when I gave myself permission to

be honoured to work with any heritage fashion house

follow my dream.

in Paris, that would be another dream come true. Dior stands out to me because of the fantasy of it all. There is

Where are you looking to take your brand next? How

romance, myths, it is forward thinking yet classic and of

do you want to expand?

course internationally renowned. Working with a house like Dior I would have access to the best craftspeople in

I would so love rabbit to explode and one day become a

the world to bring alive my ideas, a very different world

household name like Vivienne Westwood or Alexander

to my bedroom studio. There is a punk attitude to rabbit

McQueen. My main goals when I started rabbit were

and Westwood is another brand I adore. Even though my

simply to stock at Dover Street Market, the place that

designs are cute, you will find rabbits holding knives in

launched by idol Molly Goddard’s career, and to be

a few of my prints. Vivienne Westwood dressing the Sex

featured in Vogue. Both dreams have come true so now I

Pistols and growing with their rise to fame is why I have

feel rabbit is closer to growing into a bigger brand. The

made it my mission to dress the bands I love. Anyone who

way the fashion world works nowadays seems so linked

wears a rabbit garment should feel powerful, a kind of

to celebrities wearing your clothes then securing funding

dishevelled rock princess, transformed and transported.

awards.

rabbit

Please could you tell us a little about the design you’ve

and observing what is happening in life. Bats are another

used for our t-shirt collaboration?

animal I adore and were prevalent in my AW23 Battle collection. Bats for me are a symbol of guidance during a

I wanted to use this collab to create something that

dark time. If there is an elderly or unwell bat which cannot

encapsulated rabbit so naturally I have a protagonist

leave their home to feed; the community shares their food

girl wearing a full rabbit outfit under moonlight. The

and makes sure to look after them. They are very caring

illustration has a young woman breastfeeding a rabbit

creatures. Finally, the moon with the sliver of cloud refers

at the centre. This image was inspired by a meme I

to a scene in ‘Un Chien Andalou’ a film written by Dali

came across of a girl breastfeeding a lamb. I hadn’t yet

and Buñuel where it cuts from this image to someone’s

explored a rabbit baby image, so the suckling black hare

eye being sliced with a knife. This is the kind of secret

was satisfying to create. I really like the way it brings up

dark references I enjoy having in my work that makes the

lots of different emotions in me. It is at once concerning,

sweetness feel more grounded in the reality of the bizarre

beautiful and a little sexy and I’m interested to see what

world we live in. Thank you for requesting this collab and

people think. As this is a limited run, I thought I could

I hope a lot of people are as pleased with the design as I

try something slightly shocking. The little mouse is

am.

from Beatrix Potter and features in the Lovesick prints. It simply is just looking up at the world, stepping back

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Everything about the New York quartet Lip Critic strikes

There was a video Ilan showed me of Brian Chippendale

me with interest. Their sound, glitching takes of electronic

(Lightning Bolt) playing alongside Greg Saunier

hardcore fusion; their creative process, tampering with

(Deerhoof). It’s just them improvising together; the

sound until it becomes unrecognisable; their lineup of

interplay between them is unreal. That also really sparked

just two samplers, two drummers, and a mic. And most

my interest in having a band with two drummers!

importantly, their thoughts on curry sauce… Danny: There’s an album, ‘Drumgasm’, that has Zach Hill, Over the past five years, they’ve relentlessly pushed their

Matt Cameron (Pearl Jam/Soundgarden), and Janet Weiss

sound to every conceivable limit. Now signed to Partisan

(Sleater-Kinney). Interchangeably, any of those together

Records, their latest single, ‘It’s The Magic’, manages to

would be a perfect supergroup.

push boundaries even further, delivering everything one could hope for with its burning, furious intensity. What’s

I: And Glenn Kotche (Wilco). I feel like he, with any other

next? Well, I must keep that a secret, but you’ll find out

drummer, would bring out something.

soon enough, and I promise it will be worth the wait. Connor: Sheila E.! While sojourning in Brussels for their first European shows, Bret, Connor, Danny, and Ilan joined me for a call

Bret and Connor, do you find you gravitate towards

to explain how this band of madness works.

specific artists to sample, or do you tend to stick to creating your sounds from scratch?

Alright, so Sons of Kemet and Thee Oh Sees have got the double-drummers going strong, but otherwise, I

C: We do a lot of both. I draw a lot of stuff from female

rarely see two in a band together. What led to that

pop vocalists and then organic sampling too—stuff we

decision for you?

hear in the world. There’s a lot of voice memos! Also, with a decent amount of synths, this next project’s

Bret: We were joking about creating this intentionally

probably our most synth-heavy stuff.

over-the-top band made up of two of everything: two drummers, bassists, and guitarists. It was always supposed

B: I record a lot with just a Zoom recorder, or, like, 80%

to be a joke, and as people started losing interest, it ended

of the stuff that I use is probably recorded from an iPhone.

up being the four of us. What sparked that, getting heavier on the synths? Ilan: In terms of writing, we’re two different parts that complement each other, just like two guitars would.

B: Honestly, no idea. When Connor and I were sending stuff back and forth, we always fed off of each other, and

Given the chance to pair any two random drummers

there were just lots of Synthier ideas. I know you were

together, who are you picking?

working with a lot of Ableton stock stuff.

B: Maybe Zach Hill (Death Grips/Hella) and Tito Puente.

C: Yeah, a tonne. It’s funny how far you can get with stock sounds.

Words by Will Macnab, illustration by Josh Whettingsteel

B: There’s something so fun about using, for lack of a

Taking risks must be something you have all come to

better word, cheap sounds. You take that, push it hard

love. How does that creative aspect flow onto the stage

with any type of effect—compression, distortion, time

when you’re performing?

stretching, anything—and you can get really weird results out of it. If there’s one thing that Lip Critic loves, it’s

B: In terms of the live shows, there’s definitely a tonne of

when a track sounds like it’s made out of garbage. We’re

light improvisation. Connor has a whole realm of time-

not using any kind of expensive Prophet synthesiser or a

stretching and effects that he can do on the Octatrack.

JUNO. I always think about a teacher at our college who taught an electroacoustics class that Connor and I both

I: One major thing is that we’re not playing to any sort of

took. Danny also did. Great class!

click track or anything sequenced, so there’s inherently a lot of normal band improvisation that we can do.

C: Yeah, if you ever go to SUNY, take Liz Phillips’ class. C: Everything on the Octatrack’s chopped up rhythmically, so I’m just playing along to the drums.

B: But she was always saying to look at sound as a material for part of a sculpture, and that’s an idea that we take into a lot of this. For example, there’s a track ‘Flat

D: There’s points where Connor will cut out something,

Screen’ that we did a few years ago, where I just pitched

and once he brings it back in, the crowd and us are all

the whole thing up, and it has this vibe that not a lot of our

super into it. It sounds really cool. The ways in which

other music does.

you can improvise with the Octatrack end up being super exciting and different.

Lip Critic does hyperpop. With the way you create, there must be so many demos and ideas; how do you

B: He’s the dungeon master.

know when something’s ready to go to the studio? And how’s your first European tour going? B: Yeah, we overproduce a huge amount; there’s a lot of D: The shows have been a lot of fun; we’re surprised by

weeding out.

how full they’ve been. It’s really cool meeting people I: Deciding which ones end up “making it” is very

from all these places, and I’m excited for the next time

spontaneous. We have a track, ‘Angel’, that I always

we’re back, when we know a little more people, or, I

think about. It was something Bret had sent over, but it

guess, a little more people know us.

was never meant to be anything. It’s one of the only ones where Danny and I played it, and the first take ended up

You’re on this European tour; you’ve now signed to

making the final mix. It’s something that none of us would

Partisan. You’re on the path to becoming something

have thought our band would ever sound like, but that’s

big. How have your values as artists grown over the

what’s fun with this—finding out what we sound like with

years?

almost every record. B: Not much at all. We’re still just making music. What B: Yeah, I had made it just goofing around, basically. I

we have planned, though, is by far our best and most

threw it in the Google Drive, and then it ended up being

developed work, for sure. We don’t know what the future

one of my favourite ones we ever did because it feels like

holds for us, but we’re always just trying to improve and

something none of us would ever make.

push forward into something that we haven’t done before.

D: It’s a fan favourite live.

I: We’ve got one upcoming project, and we’re already in the studio for the next Partisan project after that.

Lip Critic

D: Aside from making music, we all want to play 1,000

I: Doner kebabs from Berlin are beautiful! Also, I think

more shows. We want to tour everywhere we possibly can

we had the best breakfast ever in Paris. They knew how to

and meet new people.

whip some eggs into something I never whipped eggs into, that’s for sure.

Outside of New York, where do you feel like you connected with the audience the most?

D: Doner kebabs rock. But, as far as New York goes, the pizza—I’m talking to you, New Jersey. I’m talking to you,

B: Berlin, it strangely felt like a homecoming. If there’s a

Boston. I wish everybody could try New York pizza; it’s

city where you can connect to electronic club music, then

truly the greatest thing in the entire universe.

it’s Berlin. We played with another great band, MUELL. C: I’ll say London McDonald’s beats US McDonald’s. D: That’s what’s cool about Berlin; you’ve got the

Like, dude, America McDonalds is trash.

electronic club music on one side and the hardcore punk scene on the other.

D: The McVeggie!

Any techno raves afterwards?

B: They somehow found a way to deep-fry soup into the shape of a chicken tender.

B: Sadly, we weren’t able to. We ate kebabs, went to a bar, and then we had to leave.

D: And I don’t think it’s even got real mayo.

D: It was a weekday, but it was a cool bar. Played a lot of

C: Are you crazy? What do you mean it’s not real?

Minor Threat. D: It’s vegan, dude. Okay, so you get one food to take back with you and one food that needs introducing into Europe; what’s it

B: And curry sauce! The US isn’t thinking about curry on

going to be?

fries enough.

Editors Sam Ford

Josh Whettingsteel

Writers Sam Ford

Reuben Cross

Amber Lashley

Josh Whettingsteel Eve Boothroyd

Sachin Turakhia

Natalia Quiros Edmunds Elvis Thirlwell Sean Harper

Will Macnab

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Artists

Josh Whettingsteel Clémence Mira

Shimeng (Monjajaja) Jiang Richie Culver Rory Wynn REN

Linder

Rita McGurn

Bhajan Hunjan

Marian Elliott-Said (A.K.A Poly Styrene) Gina Birch

Zhigang Zhang

Sophie Spratley

Cover Photos Holly Whitaker

Photos for Collage Justin Villar

Jeff Anderson

Marieke Macklon Gem Hale

Matt Ritson

Alexandra Layer Holly Whitaker