INTERVIEW: ESYA

Performing under her new moniker ESYA, Ayşe Hassan (Savages, Kite Bass, 180dbm) has been busy crafting electronic sounds designed to delve in to the obscure and absurd nature of life. Having recently self-released her second EP titled Absurdity of ATCG (I), her trademark thunderous basslines are now fused with urgent synths and brooding vocals which captivate by their marked urgency to tell the truth.

Propelled by her desire to always be creating, her new (and older) projects are as eclectic as her influences; ranging from Gazelle Twin to Hannah Peel. We caught up with Ayşe before her headline gig at Hackney venue The Glove That Fits to talk about her new EP, her plans for the year, and what first inspired her to venture in to electronic music… 

Hello Ayşe, what are your anticipations for tonight’s ESYA gig at The Glove That Fits?

With this project, it’s brand new because it’s electronic and I’m singing, so I have slightly different concerns compared to if I was just playing bass. I just want to make sure that everything sits correctly in the mix, which is hard as I’m behind the speakers so I have to trust the sound engineer. I’m excited. I really enjoy doing something that scares me. I feel scared again – in the good way – in the fluttery way when you play in front of people and you’re nervous.

You released your first EP Absurdity Of Being last year. How does your new EP – Absurdity of Atcg, Pt. 1 – differ? What have you learned in the interim between the two releases?

The whole idea of the EPs is that they’re going to be a trio. The first one focused on the construction of the voice, which is my voice and the fact I’ve never really sang live before. This must be the fifteenth time I’ve sang live. The second EP focuses more on electronics which is also quite new to me, as I’ve had to go through this learning curve of learning how to use the equipment I have and how to make it sound good in multiple venues and spaces. The third EP is going to focus more on sounds and bass, so it’ll be a record led by bass and electronics, which I’m writing now. I write a bit every day, I’m constantly writing. The difference between the first and the second EP is that with the second one I was more focused writing the electronics. So on the vinyl I decided to put out, I didn’t want the first few tracks to have a split, I wanted a continual 16 minute song, because that’s how it was originally written.

That sounds really cohesive. The title of your new EP references ATCG – the building blocks in human DNA – how did this influence the sound of your music? It’s quite a unique concept.

I think it’s just me focusing on what I’ve been going through in the past 6-8 years. Life is kind of insane, and it’s kind of absurd and I feel like the whole concept of it and the experiences we go through have a humour in them, but also a beauty that we’re all here on this planet and it’s all a bit mind-blowing. On a more microscopic level – or not [laughs] – being in a band like Savages and playing to thousands of people, and then basically going back to starting something [like ESYA] from scratch is kind of absurd. I find it funny in a strange way because you should never be too comfortable, life has a funny was of messing around with you.

I think the ATCG title is fitting because everything that I sing about on the two records is a reference to the life that I lead, so I feel like it encapsulates every kind experience. There’s so many angles that I was looking at that title from, and I really liked that it could mean so many things to so many different people. Depending on your own experiences, it’s quite ambiguous. I felt that was also relevant to what I was going through and I wanted to express that all of this is absurd so just enjoy life.

Sounds great. What kind of reaction have you had from fans and critics so far?

I self-released both records, so I’ve had a limited budget and I’ve been working in order to earn the money to put out my EPs. I’ve only got 50 vinyl left of the new EP, and I’ve sold out of the first one which is amazing, and most importantly people are responding well to the music. It’s different to what I’ve done before, you’re hearing my voice and everything is recorded by me. I’ve done everything, which has been a challenge in itself. I’m not a Producer, I’ve never really recorded myself other than to write demos, so it’s been a huge learning curve which I’ve found quite empowering.

One thing that used to frustrate me in the past with other records, is that I felt like I didn’t have as much control as I would’ve liked. There’s so much beauty in imperfection, so [the recording] doesn’t have to be perfect. The vocals on both EPs were recorded with just a handheld microphone, so it’s pretty lo-fi if you compare it to a studio record. The bass is recorded in a similar way as well, and I love that. I feel like we’re bombarded with over-produced stuff at the moment and I wanted it to be honest. I’ve worked a job that I don’t particularly like in order to put this record out there, and it’s really amazing that people have purchased it. I really appreciate that.

Having been on a label before, it’s really interesting to see the differences and learn how to navigate an environment without the help of a label. PR was a big thing, when you’re doing it yourself you have to think of everything. How to be creative with getting the word out. I come from a very particular world where I started playing punk bass and have always done things myself, and then being in a band where we were lucky enough to have the support of a big label, and then going back to doing it all myself – I have a lot of respect for musicians who don’t have that kind of support. Because it’s hard, really hard.

Being in different bands sounds like it’s taught you a lot then. From Savages, Kite Base, 180db, and now your new solo project – can you talk me through how each has led to the other? What’s different between what you’ve released before, and the music you’re writing now?

I absolutely love playing live, so me creating this new project was born out of the frustration of being on other people’s schedules. I can’t control when other people need to rest and I do respect that, but also for myself I need to keep playing live, it’s in my blood. Even when I was a teenager I used to put on shows in my house at house parties and get friends bands to come over and play – my neighbours hated it! I was originally thinking with this new project that I was just going to do living room shows, nothing at a venue. So I can go back to really being up close to people and doing the things I’ve missed doing for so many years. It’s that intensity when you’re close to people who really love music, and it’s just you and them, so close to each other.

With Savages I was a bass player, but we all came together to write. I knew at some point because we’d been touring so intensely people would need to take a rest, so midway through that time I started Kite Base, because I wanted to have another option of being able to tour and play. Also, when you’re with three other people who are as passionate about the music you make it can be complicated, it can be amazing but it can be dysfunctional.

With Kite Base it was easier because we were a duo, two halves make a whole! We achieved some really cool things, we put out a record that I love, and we supported Nine Inch Nails [on their American tour] last year which was incredible. That was just the most ultimate of dreams. To actually be able to achieve that in a slightly different way was really special to me. Kite Base was self-funded and we went through stages of having managers and not having managers, so it was another short sharp lesson of how to use what I’d learned through Savages and put it in to practice, which I think is a really great thing to do. We sorted everything for ourselves so it was quite intense. The cost to get out there, and bearing in mind we were self-funding everything, we knew there was no way we weren’t going to say yes to the tour – but the logistics were quite stressful at points. If my visa got turned down, I would’ve cried!

Alongside that, me and Faye [Savages’ drummer] decided to write together. I love working with Faye, I really connect with her so we thought we’d do collaborations. We’re working on a record at the moment and it will feature lots of guest singers, people who we admire, and we’re really happy with the people we’ve worked with so far. My first shows [as EYSA] were just in living rooms performing to friends in America after the Nine Inch Nails tour, just to try out whether I could sing live. I knew I was going to put out an EP because I had so much material and I didn’t want to waste it.

That’s interesting, with the singing, did you always know you could sing? Or was it a confidence issue? Or something that you picked up along the way?

I always wanted to focus solely on one thing. I didn’t want to sing while I was playing bass because I wanted to focus my whole attention on playing one instrument and to lose myself, which I did. I remember many years ago Jehnny [Savages lead singer] joked about me having a mic and I remember thinking “I do not want to sing”. I don’t feel like I’m a natural in front of a mic. Maybe it was because I’d never tried it, but it got to a point where I was so frustrated because there were no shows coming up and I didn’t know when I’d be performing live again, that I thought I’d just try it. How scary could it be? Turns out, it was quite scary!

I think the way I sing has an honesty to it, and I’m talking about things that mean a lot to me so it wouldn’t have worked if someone else was singing it other than me. I remember saying to Jehnny not that long ago that my respect for people who front and sing lead vocals in a band has gone up so much, because having to go through that process is so hard. Even just thinking of the things you say in the spaces between songs! I had a different idea of what that would be before I did it, and it takes a lot of balls. To do it well and master the techniques with the mic and your environment. I’ve gone from playing my bass with my eyes closed not giving a shit about anything other than performing and playing as well as I can, not worrying about my environment and just losing myself. Also, for practical reasons – I can just get in a car with my synth and my drum machine and that’s it. I can be there, and I can sing.

That sounds great too. Who inspired you to first pick up a bass? And who or what got you in to using FM & Analog synths?

With the bass, it was the frustration of wanting to play an instrument but feeling like I couldn’t. At the time I was listening to a lot of David Bowie and Nine Inch Nails and I feel like with the bass, it wasn’t really one person or one thing that inspired me to play, it was a series of things and influenced by what I was listening to. I remember getting really in to Nirvana and thinking “I just wanna play something”. Then I happened to meet someone who needed a bass player, but I couldn’t play bass at the time. They were like “you don’t have to know how to play bass!” which in the context of the band I didn’t really, and I loved that. So I got in to loads of bands who at the time who were just loads of dudes and I was always just the female bass player. Then I got in to a band with Gemma [Savages guitarist] and we had a great lead singer and things were going well, and then when he left Gemma & I wanted to keep going – but I was working full-time and we wanted to play at least three times a week – but then we found Jehnny and then we found Faye, so it all came together. What’s really important is that I’ve always trusted my instincts. I’ve always known that I love making music, even just for myself. I lose myself in what I’m creating.

What advice would you give to anyone who’s trying to learn either of these instruments?

Just do it. Even if you feel like you can’t play, there’s nothing that’s stopping you. You can always learn. With the electronics, you don’t have to have super expensive gear. I use a keyboard Yamaha DX reface which is £200, and that’s quite cheap compared to other equipment. You can make music from sound recordings, I’ve done that in the past. Do what feels true to you, you don’t have to learn to play an instrument in a particular way, go with what feels right for you. That’s what I did with bass, my style has come from not really learning how to play. I play really low, which is terrible for the back, but I always wanted to be able to play like crazy and to be really solid at keeping the rhythm and lose myself in it and enjoy that moment. Over the years, I’ve been thinking more about tone and stuff, but I think you should do what scares you. If you’re scared to play a particular instrument – just do it. Once you’ve done it, you can just create.

If you’d told me that I’d be singing and playing electronics when I was 16, I’d be like “No way…” so you don’t have to stick to one thing. If you connect with an instrument, just go for it. The more you play, the better you get.

That’s great advice. What are your plans for the rest of the year?

I’m thinking about playing some more shows that are in record stores and are really intimate, because that terrifies me! Technique-wise, I think that’s a really good learning process to go through, and to connect with people. If I can play somewhere where people literally love the records on the shelves around them, that’s really sweet.

The third ESYA EP and the record with 180db will probably be coming out later this year too.

Who are you listening to? Recommendations?

Hyperstition duo who are playing with me tonight, they are two members from a Sheffield-based band called Blood Sport who I love.

I also love Gazelle Twin. I went to see her at Red Gallery – it might not be called that anymore, but it’s a venue near Old Street – and after she came off stage I was like “CAN YOU SIGN MY VINYL?!” and she was like “are you kidding me?” [laughs]. She’s been an inspiration to me actually, because it’s just her and her partner live, and she’s a Mother as well. I really respect how hard she works and how she juggles all of those things. She’s amazing. Her second album Unflesh, that was the soundtrack to my nightmares and I remember telling her that! It comes from a dark place, but it’s so powerful. The honesty in it, that’s why I was so attached to it.

Hannah Peel, slightly different vibe, but she is incredible too. It’s not the typical thing I’d listen to, but the way she plays violin is amazing. I did a tour with her as Kite Base, she played and so did I Speak Machine and after watching them I thought they were both amazing. Tara [of I Speak Machine] is a genius with electronics. These women are pioneers when it comes to electronic music.

Thanks so much to Ayse for answering our questions! Buy your copy of ESYA’s EP Absurdity of ATCG (I) here.

Photo Credit: Chiara Ceccaioni

Kate Crudgington
@KCBobCut

Track Of The Day: HIDE – ‘Chainsaw’

**trigger warning: mention of rape/sexual assault**

Not for the faint-hearted: Chicago-based electronic duo HIDE mesh abrasive, pulverizing synths and aggressive vocals on their latest track ‘Chainsaw’. Taken from their upcoming album Hell is Here, set for release August 23rd via Dais Records, the track’s accompanying video closes with the statement “Rape culture kills” and lists the names of multiple women who were raped and murdered whose pictures feature in the video.

The track’s uncomfortable context is deeply rooted in the band’s own reality; the lyrics to ‘Chainsaw’ are a slew of verbal assaults the duo have received repeatedly on the street, often while in the company of a child. The video is a collaboration with film makers Chris Hefner and Menthol Pictures.

HIDE are formed of fine artist Gabel and percussionist Seth Sher, and together the pair use a combination of self sourced field recordings and various pop culture/media to create their intense and powerful sounds and visuals. ‘Chainsaw’ is one of many HIDE of tracks that challenges misogyny and the pain of those who have been brutalised, explored through blistering noise and confrontational vocals.

The duo will be touring both the US and Europe from July onwards, including a show with Kontravoid at London’s Shacklewell Arms on 3rd October which we urge you not to miss. Watch the video for ‘Chainsaw’ below and follow HIDE on Facebook for more updates.

If you have been affected by these visuals and want to seek support, visit the Rape Crisis website here.

Photo credit: Nicola Kuperus

Kate Crudgington
@KCBobCut

Track Of The Day: Joviale – ‘Dreamboat’

Instinctive, hypnotic sounds permeate London-based songwriter Joviale‘s new single ‘Dreamboat’. As the title suggests, it’s a hazy blur of beguiling vocals and avant-pop sounds that’ll have you drifting through feelings of pleasure and pain.

Joviale’s music is informed by the tone and emotion in the songs of Billie Holiday and Janis Joplin, the rhythms of 60’s girl groups like The Marvelettes and The Ronnettes, and the timbre of the percussion and brass in the African music she listened to growing up.

While writing and recording ‘Dreamboat’, Joviale collected material for a scrapbook comprised of various fabrics, cutouts from fashion editorials, alongside religious imagery. She surrounds herself with “soundscapes and treasures from different cultures”, often exploring how movement and nature can be connected to her music. ”It’s my method of weathering a crisis” Joviale explains, “because every experience is a gift whether it’s bad or good”.

‘Dreamboat’ is a disarming, harmonious fusion of charming vocals and sultry sounds, and we can’t wait to her more of the tracks on Joviale’s upcoming EP. listen to the track below and follow Joviale on Facebook for more updates.

Photo Credit: Hannah Burton

Kate Crudgington
@KCBobCut

FIVE FAVOURITES: Gurr

After the recent release of their new EP She Says, German duo Gurr have been busy touring and making plans for the rest of 2019. The new songs are a poignant observation on the world’s indifference to the opinions of others. We caught up with bandmates Laura Lee & Andreya Casablanca to talk about their “Five Favourites” – five albums that have influenced their own songwriting. Check out their choices below, and take note of their upcoming tour dates at the end of this post!

LAURA

1. Oasis – What’s the Story Morning Glory
It’s not only my favorite album, I think it’s also the best second album of all time. To top a debut album with a second album like this – including songs like Champagne ‘Supernova’ – just deserves all my respect.

2. Ulrika Spacek – The Album Paranoia
It really amazed me how few people know about this band: Very crafty sounds, amazing recordings, seems like they have great artistic integrity as a band… I really wish they were more famous and also don’t at the same time.

3. Deerhunter – Halcyon Digest
After my Oasis obsession, Deerhunter and especially Halcyon Digest were the first band to really pick me up again and get me excited about current music. So thanks for that!

4. Carole King – Tapestry
I found out about Carole King way too late in my life. Also BECAUSE SHE NEVER MAKES THESE KINDS OF BEST ALBUMS OF ALL TIMES LISTS and I really don’t understand why.

5. The Sound – Jeopardy
Maybe I would say this is the greatest album of all time (to me). It’s just pure perfection to me, the compilation of songs, the order, … everything!

ANDREYA

1. Le Tigre – Feminist Sweepstakes
This is the first album that I heard a more experimental approach to music with adding synth and random stuff. I was so into Le Tigre and their aesthetic, I listened to this album from top to end in my teenage bedroom at night.

2. Sonic Youth – Goo
I used to go to the record store and just try to learn indie music history by listening through records – this record was a little hard for me to grasp but it opened a weird world of eerie vibes and “anything goes” and it totally made me feel like I am special back then haha.

3. Be your own Pet – Be your own Pet
I rarely listen to BYOP anymore but I DEVOURED this album and it basically shaped so much of my songwriting as a teen- that it can just be weird and repetitive chord progressions, loud and noisy, confusing lyrics and high energy. Jemina Pearl and Karen O were definitely my icons back then.

4. Avril Lavigne – Let Go
This album is brilliant. So many good pop songs that I can still sing along to today even though I don’t want to?

5. Supergrass – I should Coco
I actually don’t know why I loved and love this album so much but I listened to it a lot and especially enjoyed the squeeky voices- “She’s so loose” made me jam on open dissonant chords for DAYS. Love it.

Gurr Tour Dates 2019
14.06.2019 – GER Mannheim – Maifield Derby
18.06.2019 – USA Brooklyn – Rough Trade (in-store showcase, duo performance)
19.06.2019 – USA New York City – Rockwood Hall w/ Surfbort
21.06.2019 – GER Scheeßel – Hurricane Festival
22.06.2019 – GER Neuhausen ob Eck, DE – Southside Festival
30.06.2019 – GER Paderborn, DE – Wintergrün Festival
13.07.2019 – HU Banki-to Bank – Bankito Festival
26.07.2019 – GER Eltville am Rhein – Heimspiel Knyphausen
27.07.2019 – UK Oxfordshire, UK – Truck Festival
02.08.2019 – AT Lustenau – Szene Open Air Lustenau
03.08.2019 – CH Olten – Olten Open Air
09.08.2019 – GER Rees – Haldern Pop Festival
10.08.2019 – GER Konigs Wusterhausen – Bergfunk
31.08.2019 – GER Stade – Müssen Alle Mit
11.10.2019 – UK London – The Lexington
13.10.2019 – GER Düsseldorf – New Fall Festival

Thanks to Laura & Andreya for sharing their favourite with us. Follow Gurr on Facebook for more updates.

Kate Crudgington
@KCBobCut

INTERVIEW: Le Butcherettes

When I speak to Teri Gender Bender – front woman of Le Butcherettes – she’s in the van with band mates Alejandra (drums), Rikardo (guitars) and Marfred (bass) on her way to Kansas. Later that evening, the band (who are based in El Paso) are supporting riot grrrls L7 on their current tour, and naturally, Teri is in high spirits. I’m in high spirits too, as I’m talking to the woman who I saw dominate the stage at Hackney’s Moth Club at Le Butcherettes’ headline show a few months ago. Her voice and her presence are a formidable force, and I’m pleased to hear that off stage on the phone, her energy is just as prolific. We talk about the band’s new album bi/MENTAL and their recent support slots with Bikini Kill in LA, and even manage to conjure up a voodoo Beatles collaboration….

Hello Teri! I saw you play with Big Joanie at Moth Club in Hackney a few months ago. Talk me through how that went and how you came discovered them…

I wish I could say that we’re in the know, but I have to give the credit to the show’s promoter. He hooked us up with a great new discovery. They blew my mind, holy shit! They were amazing. Putting that all aside, they’re not just talented – there are many super talented people out there – they’re genuine sweethearts. We shared a dressing room with them and they were very self aware and conscious of space, and we’re the same. We always try not to be a burden, so we were both really shy together, and we bonded over that. It was really sweet you know? “We were like cool, we’re weirdos too, yay! You like pizza, I like pizza!” It worked out beautifully and I saw that they’re playing with Bikini Kill in London soon too, which is fucking awesome.

It is, I’ll be there to watch them! You recently supported Bikini Kill in LA too. Please tell me in as much detail as you can how the gig went…

It was like a dream come true. It felt like winning a Grammy. It was a pretty emotional day as it was, because it was our guitarist Rikardo’s birthday. He was turning the big ’29’ so that was pretty symbolic, it was his birthday and we got to spend it at The Palladium, another great venue that we really love and are big fans of, we’ve seen a lot of great shows there before. And to top that, we were opening up for one of our favourite bands ever. Someone once asked me if you could organise a festival who would you have as the headliner? And I was like “Bikini Kill would be my headliner!” They’re also super sweethearts. They came in to say hello and treated us as their guests, so in that sense it felt like home, very Latino, very welcoming. Some bands are shy, and I know I have been before. But when you get a little older you’re less shy, and you take things less personally. Sometimes people might just be having a bad day and not want to talk you know? I used to take that personally, but the end of the day it’s not about me. Everyone has their own movie going on, you know?

But yeah, Bikini Kill are sweethearts and they were very, very welcoming. Such a breath of fresh air. And their set was amazing, holy shit! They played ‘Double Dare Ya’ ‘Tammy Rae’, ‘Suck My Left One’, ‘Rebel Girl’ of course! They essentially played almost all of their songs off the two records they put out, and the EP that was produced by Ian MacKaye from Fugazi. There were loads of people in the crowd too, I ran in to Henry Rollins, and Juliette Lewis was at the show so it was really cool. There were a lot of people who I would say are usually introverts that came out to go and see them.

That sounds amazing! I can’t wait to see them at Brixton in June. You have a very strong performance style and you seem fearless on stage. Who inspired you as a performer and a front woman?

It’s basically this never-ending love/hate relationship between me and my Mother. I say that because she’s the “real deal” artist of the family, and when I was little she was basically putting her career in theatre on hiatus just to be able to be a stay at home Mum with us. But over the years, she took that out on us. So there was this relationship of “damn, I am guilty because she’s the real deal and she knows it, I know it”, so it’s this angst of me just trying to scream all of that desperation on stage trying to get rid of it. And also to get rid of the wrong-doing that’s been done, you know? For me it’s my therapy.

It helps to have other women Pioneers to open up the past as well, like Alice Bag, Kathleen Hana, Tobi Vale, Karen O and Mon Laferte. Mon Laferte is also fearless off stage. She’s had politicians who want to take pictures with her and she’s been put on the spot by them, and she’s had the guts to be like “I am not going to take a picture with you”. Especially in Mexico, the politics can be very corrupt and messy, so just hanging out with one of them can have you end up on someone’s hit list. So to say no to a Politician is to basically get your name on a hit list. But she’s a badass, she still said no to them and she still continues with her art.

But my Mother, she’s an unlimited source of inspiration. Even though we’re sometimes at one another’s throats.

Congratulations on the release of your third album bi/MENTAL. I read that you felt comfortable working with Producer Jerry Harrison because you were able to be “vulnerable and in-your-face at the same time” – that definitely comes across in the songs on the new record, but can you elaborate on that a little more? Did he leave you to your own devices or did he play a bigger role?

I think it was a combination of everything. When you mentioned about be left to your own devices, that’s something I’m definitely aware of when I’m working with a new producer. When you have your original idea and you’re working with someone new, because it’s always been myself in the past or another member of the band so that there’s always a comfort or a shoulder to lean on, you know? But I felt like it would be great to work with Jerry. He was number one on my list because I’ve always admired his work with Talking Heads, but I’m also a big No Doubt fan, and out of the songs he put out with them, ‘New’ is one of my favourite songs and he produced that.

The fact that he was open to producing for us – and that he’d actually heard of our band – was like “Oh shit, I’m not left to my own devices then!” So from the beginning when we just had a phone call I was shaking! It felt so “Ooooh the mystique!” because we hadn’t met face-to-face before. Then his wife was on the phone and she was great, saying she couldn’t wait for pre-production to begin and she invited me to spend that time with them in their home. They were very welcoming, they had me in their home before we started work in the studio, and I got to see the process of how they live and they welcomed me to be part of their family dinners in the evening. I was living in a home full of love, I felt like the family cat you know? Like when a cat relaxes and their tails gets kinda curly? That’s what I felt like, a relaxed little cat. Being able to relax and explore the songs together and just be part of a family. They had no reason to do that either, it could’ve been all just via email you know?

That’s really generous, and great that you felt relaxed. I know you’re an advocate for being open about mental health, and I think that comes across on the themes and lyrics on your new album. Without being too invasive – are you able to tell me why you think it’s so important to be honest with yourself and with others about your own trauma, and the emotions that come with it?

I think it’s important – at least for me – it’s definitely helped. But some people don’t feel comfortable talking about it, and that’s okay too. It’s okay to hold on to something for a long time, eventually the time will come when you want to talk about it. It’s hard to know if there will be someone to hear you out. You’re never alone though, and I try to tell myself that. Just opening up a dialogue is very healthy, which is something I wish I had when I was younger at school when I had all these questions about why I was feeling this way, or why do I have the urge to cut myself and think these horrible thoughts about myself?

I remember when someone would try to open up about it, at least in Mexico with the Catholic Church – we’d be automatically expelled or put in for psychological testing with such a rude manner. There was no tact, it was like “we better evaluate her because she might be a threat”. So maybe a little empathy and dialogue are what’s needed. With mental health in general though, sometimes people don’t want to take care of themselves, period. They’re dealing with over stimulation constantly. A breather would be good. I feel sorry for kids at school now, I remember when I was barely going in to high school when MySpace was becoming a thing, but I cannot imagine being around [social media] now during pre-school or even kindergarten.

It must be a bit of a minefield trying to grow up nowadays.

Collaboration seems important to you – you worked with Alice Bag & Chilean vocalist Mon Laferte on your new album, and you work with members of the Mars Volta in your other project Bosnian Rainbows. In your mind, what makes for an effective collaboration? Who else would you like to work with in the future?

What makes for an effective collaboration is just the wanting to and the will power to do it. There are many times when people say “Yeah let’s do this!” and I’m guilty of it myself, but then dead air…you see the inactivity or you keep pushing it for later, later…that’s what kills a collaboration. For me, I’m attracted to individuals that are like “Shit, let’s do this now, I don’t care where the fuck we are! We’re gonna make this work”. Where there’s will, and want, and desire to do it then hell yeah – we’re in! So luckily all of these individuals that we’ve worked with have had that and the appreciation do it, you know? Why would you want to work with someone that makes you feel shit, right?

There are many, many talented people out there [that I’d collaborate with]. I say this time and time again, but there’s this great artist called Natalia Lafourcade from Mexico and Vanessa Zamora who is a great folklore/pop star, and a great shredder and songwriter. Also Selda, she’s an OG from Turkey, the list goes on! The Beatles, well Paul McCartney…maybe do some voodoo and get the whole group back? Some Voodoo Beatles?

I think you just found the concept for your next record…

You’re returning to London on 9th July to play the Boston Music Room. What are your anticipations for this gig?

Well, hopefully that some people go! We’ll be playing the new songs off of the new record. I take things one day at a time really, but hopefully when the time comes, that everything goes to plan, that we get there safe, that everyone going to see us gets there safe. The cool thing about it – here comes a sales pitch for our shows – is that we never really know what’s gonna happen, we fucking roll with it. It’s a real kind of feeding thing, a give and take situation, that’s why I’m hopeful that people are going because it’s a two-way street. I feed off of the people the band feeds off the people, we feed off each other. It’s like a feast! We’re all just eating!

It’s going to be a banquet, I can’t wait! You’re on tour with L7 now, so tell me as much detail as you can about how excited you are to share a line-up with them…

It’s show number 6 or 7 with them, but it’s been so chill. Another example of great talent and great people who are fucking inspiring and their fans are really sweet to us. It’s been amazing. Our set is about 30 minutes, so it’s really nice to have some chill time afterwards, because when it’s our own shows we have to basically leave right away because it’s curfew!

We played one show with them in this really old and rustic theatre, which I loved! I felt like there were at least a couple of ghosts there, so that was a highlight for me. I love ghosts, who doesn’t right? Who wouldn’t want to hang out with a ghost? I mean, not a demon, just a ghost. But there were a couple of ghosts in that theatre for sure.

Sounds spooky…What artists are you listening to at the moment. Who would you recommend?

Blood Orange – Marfred & Rikardo put it on when we drive, so we’ve all become fans. I’ve kind of been on a repeat too, going back to the classics like Talking Heads, but my biggest obsession that’s been taking up 80% of my listening time is Ariana Grande! I wish I could say something underground, but I went to see her recently and it was insane how she’s only like, 5″ tall and that voice comes out of her! You can see the pain and grief in her eyes.

Good recommendations. Finally, do you have any advice for any woman or non-binary person who’s contemplating starting a band?

My advice – and I’m sure you hear this all the time – is don’t feel like you’re a burden. I feel like that will hold you back. I’ve missed out on so many beautiful friendships and possible songs and ideas only because I thought I was a burden. I felt like I started late, I was 17 when I started a band but I wanted to start a band since I was 6! All those years – from age 6 to 17 – that’s so many years of fear! I wish I’d started earlier. I mean, there was a band who opened up for Bikini Kill on their other LA date that were 10 years old! When I saw them I was like “damn!” and I was so inspired. They’re definitely not having any fear of being a bother or holding back, and that’s so great.

I feel the same about writing, you know? I’ve always wanted to write books, tangible things, because songwriting can be kind of abstract. I wanted to be a tangible “real” writer but my teachers would get frustrated with me because of my language impediments and I felt like I was being a burden on them so I gave up. But it’s never personal, that frustration you know? Sometimes it’s projection. It’s scary sometimes, but you have to just get out there!

Huge thanks to Teri for answering my questions. Catch Le Butcherettes on their upcoming UK tour (dates below)

9th July – London, Boston Music Rooms
10th July Brighton, Green Door Store
11 July – Cheltenham, 2000 Trees Festival

Kate Crudgington
@KCBobCut

Track Of The Day: Little Pale – ‘The Way You Used To Be’

A bittersweet reflection on life before technology took over; London-based newcomer Little Pale has shared her debut single ‘The Way You Used To Be’. It was her sultry remix of The Stone Roses’ classic track ‘I Wanna Be Adored’ first caught our attention, but her debut single is a wonderful example of her ability to write electro-pop tunes laced with melancholy.

Speaking about ‘The Way You Used To Be’, the songwriter explains: “It’s a reminiscing of the old, and comment on the new. Since the rise of tech, things have become so saturated, and while it definitely brings more opportunities, it does give me a longing for a simpler time”. Little Pale – so-called due to her stature and pallor – has overcome self doubt and feelings of anxiety to create her own sounds, and we’re excited to see what else she releases over the coming months.

Listen to ‘The Way You Used To Be’ below and follow Little Pale on Instagram for more updates.

Kate Crudgington
@KCBobCut