Interview: Slowcoaches

Like us Get In Her Ears girls – and most women in music – Slowcoaches bassist & vocalist Heather Perkins is pretty fucking sick of the pervasive misogyny inherent in the music industry today. Fortunately, her band and her voice provide a much-needed antidote to all the patriarchal nonsense we’re forced to stomach. We caught up with Heather to talk about Slowcoaches’ 2018 recording and touring plans, shouting back against sexism on Twitter, being appreciative of your band mates, and taking time to recognise and deal with your own mental health issues effectively…

Hello Heather! It’s the start of a brand new yearand we’re keen to know what’s in store for Slowcoaches. Can you tell us what’s coming up for the band in 2018?

I’ve been mainly writing our second album, which will come out this year. I’ve moved out of London and I’m writing back in the town I grew up in which is weird but also really refreshing. Its given me a new place mentally and physically to write from, which is always interesting. We have a new track coming out in a couple of months which I’m really excited about. We’re also planning a huge tour in a huge country for later in the year, and I’m so damn excited but I don’t know how much I’m allowed to say about that right now.

That sounds exciting! We saw your tweets about Bono’s Rolling Stone interview at the end of 2017, in which he brands new music “girly” and says hip-hop is the only place in music where men can express “rage”. Where were you when you first read his comments?

I don’t know where I was when I read it, but that’s because I read so much shit like this all the time now that it kind of becomes an everyday occurrence. I genuinely couldn’t give a shit what Bono thinks, but the things he says have such reach and they shape the opinions of his already small-minded but huge audience. He reflects an opinion that poses a huge problem to women in the music industry and the world in general, that’s what’s so frustrating about it.

We also saw that you’d been tweeting about the first release on Slaves’ new label ‘Girl Fight Records’ too?

Yeah. This is the first time in a while that I’ve let something like this really piss me off actually. It took me a whole day to totally get my head around why I was so angry about it, and I realised there were so many layers to the whole thing that I found offensive – both as a woman and as a woman musician. I think this is why:

Slaves are a band with a lot of influence. Their opinions and endorsements affect the way their audience perceives music and more widely, the way they perceive the world. So, they’ve chosen to start releasing music under the label name ‘Girl Fight’. That’s the first kicker. The phrase ‘Girl Fight’ denotes pettiness, weakness and bitchiness. It has sexual and comical connotations. And more often that not a ‘girl fight’ involves two women fighting over a man. Those two words have layers of negative connotations that reach beyond simply pitching women as enemies of each other.

This is a problem then, when coupled with the fact that their first release is by an all-white, all-male band called ‘Lady Bird’ (check! Two more references to the female gender) – a song about a ‘traditional geezer’ who’s having a bad time in Wetherspoons which is something that we can apparently ‘all identify with’ (except for anyone who isn’t a traditional geezer – hell, I don’t even know what a ‘traditional geezer’ is.) So that alienates all us un-traditional, un-geezer types.

Congratulations Slaves! You’ve created the epitome of a ‘lads club’ right there. Everything about this label and this release screams ‘punk rock is a boys gang and you’re not invited.’

Denoting women as enemies of each other whilst promoting and supporting maleness in punk music is the ultimate ‘fuck you’ to all women, female-identifying and LGBTQ individuals who are making music of this genre. They are reinforcing the idea that rock music is a boys game. And their audience will believe them.

But notice how both label and band use words referencing the female gender: girl, lady, bird. Its like, adding insult to injury. Not only are women banned from engaging or identifying with the content, they are referenced with the intent to both sneer at them, belittle them and use them as a decoration, a name, an aesthetic reference.

It’s really disappointing to see a band with such a big fanbase belittle women’s efforts in punk.

What inspires you when you’re writing new songs?

It’s taken me a while to get in to the routine of writing. It’s fun and frustrating in equal measure. I get really angry at myself really quickly, especially if I don’t feel like I’ve got a great idea within the first 3 minutes. I’ve spent a lot of time training myself to persevere through those initial few minutes of total shit. It’s like doing warm up before you go for a run.

I’ve also been forcing myself to sit down and just write for an hour or something every day. It’s easier the more you do it. It also teaches you about the best way to write. Like, for you. A few weeks in, I realised I was writing songs that I thought other people would like. And it just wasn’t working. So now I’m writing songs for myself and its all flowing more easily.

In terms of what inspires me, it can be anything at all. I often think about the live show and how songs translate to be experienced on a stage. I guess that’s the place I often start from.

You toured the UK in 2017 and you’ll be back on the road in 2018 too. Can you talk to us about the positive and negatives aspects of being on tour?

Our last tour was amazing. It was a pretty long trip and I learned a huge amount about myself and what I’m capable of and what I’m not.

I suffer from severe anxiety and panic disorder as well as a few other weird things including DPD (Depersonalisation Derealisation Disorder) that can make touring quite tricky for me. I basically got back and finally admitted to myself that I just can’t do some things in the same way as some other people can. Admitting that was a bit of a relief and now I know that I need to be stricter with myself and look after myself a lot better when we go away. Otherwise I’m making my life a hundred times harder than it needs to be.

I definitely couldn’t get through touring without Sean and Oliver and our awesome little team. Doing something so challenging can be a real confidence boost, but next time I want to be able to really enjoy myself.

Here at Get In Her Ears, we’ve noticed that bands and artists have been much more open about their struggles with poor mental health this year. Have you noticed this too? Do you think this open attitude will continue to prevail in 2018?

I hope so. I think music is so inextricably linked to emotion that it’s a great place for people to start to explore and identify and swap experiences.

Do you have any advice for new bands or artists who are concerned about their mental health?

A few things I learned whilst on tour:

Try to be open and honest with your band mates and crew. Don’t bottle things up. It only increases tension and anxiety.

Being around someone with a mental health issue can be as challenging as having one. You’re not expected to provide solutions, but it can help you and others if you’re explicit about what you need at any time. If you want to be alone, say so. If you want someone to sit and just hold your hand, say so. If there’s nothing anyone can do at that moment, say so.

Challenging yourself is good, but be realistic about what you can and can’t do. It’s ok to say “I don’t want to”. Having a few ground rules when you’re on tour is important. It doesn’t make you any less punk.

Good advice. As a new music blog, we’re always keen to hear about other people’s favourite new bands & artists. Who are you listening to at the moment?

I’ve just been listening to a great record that came out this year called LA Women, by a New Orleans band called Patsy. Nice gritty upbeat, catchy garage punk.

Finally, if you had to describe Slowcoaches’ music in three words: what would they be?

Infectious, vital noise.

Huge thanks to Heather for taking the time to answer our questions. Make sure you’re following Slowcoaches on Facebook to keep up to date with all their new releases.

Photo Credit: Priti Shikotra

Kate Crudgington
@KCBobCut

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PLAYLIST: January 2018

The festive period is over and we’re almost seven whole days in to 2018. Where did the time go? Who knows? The only thing we really know is our shiny new January playlist is well worth investing some listening time in. Chuck it on while you’re at your brand new gym, cooking up that healthy new dinner, or simply not surrendering to the overwhelming pressure that surrounds the ‘NEW YEAR NEW ME’ outlook…

The Big Moon – ‘Happy New Year’
2017 was a tough year, but it would’ve been tougher without our favourite garage-rockers The Big Moon. Their laid back anthems have covered love, loss, and “pull(ing) the other one”; and ‘Happy New Year’ is the perfect ambivalent alternative to ‘Auld Lang Syne’. Plus, there’s a suave dance routine you can mimic in their music video. All you need is a suit and some sass. (Kate Crudgington)

The Distillers – ‘I Am A Revenant’ 
“Another year has passed and I’m alright…”
Not going to lie, I’ve been pretty obsessed with Brody Dalle since first hearing Sing Sing Death House as a hormone-filled sixteen year old back in 2002. Her impassioned growl, ferocious snarl, and punk-inspired swagger was the perfect raging accompaniment to the trials and tribulations of teenage-dom. So, I was gushing with excitement to see The Distillers’ teaser this week for new material coming up in 2018 because even now, as a slightly more balanced thirty-one year old, I’m still in need of a raging accompaniment to life. (Mari Lane)

Pumarosa – ‘Sacerdotisa’
London electro-post-punk five-piece Pumarosa have released a new Spanish version of their debut single ‘Priestess’. In an interview with Q, vocalist Isabel Munoz-Newsome said: “politically, there’s this separatist theme and the Spanish government is shutting it down in a violent way. You can’t just shut down an opinion…I hope that this will translate and they’ll hear them.” I loved the original and I love this version. 2018 will no doubt hold a lot of political change and we definitely need a soundtrack for that. (Tash Walker)

Pretenders – ‘I Hate Myself’
Drank a life-ruining amount of gin on New Years Eve? Failed to start your new exercise routine? Considering signing up to Tinder again because you don’t want to die alone? Just me? Ah, sod all that ‘NEW YEAR NEW ME’ nonsense. There’s nothing wrong with a bit of self-deprecation, especially when you’re being schooled in it by rock n roll’s finest: Chrissie Hynde. (KC)

Green Pitch – ‘New Year Departure’
I came across Green Pitch in 2009 because I was mad about a band called The River Phoenix, and their lead singer provides the male vocals on this morose, melodic call and response track. It’s a bit heavy on the heart-strings, but give the rest of Green Pitch’s stuff a listen if you like melancholy, alternative sounds. (KC)

Camera Obscura – ‘New Year’s Resolution’
Whilst not a new song, I couldn’t not include this beautifully reflective offering from Camera Obscura’s epic 2013 album Desire Lines as we venture into 2018, and I vow – as I do every year – to “write something of value”. This heartfelt track gets me every time, especially since the tragic loss of Carey Lander over two years ago. (ML)

Sudan Archives – ‘Come Meh Way’
Sudan Archives is the music project from Brittney Denise Parks, a self-taught violinist, vocalist and producer – citing influencers from Sudanese fiddlers to experimental electronica. The almost unemotional vocals layered on top of the West-African folk fiddle, mixed in with percussion from hand-claps to tambourine, make this a concoction I’ve not come across before, and I can’t get this track out of my head. (TW)

Night Shades – ‘Caveman Crawl’
Formed back in 2014 when Shaun Blackwell and Clare McNamara arrived in London from New Zealand and met drummer Niall Kavanagh, Night Shades released their Evil Dreams EP in October last year. Taken from the EP, ‘Caveman Crawl’ is a raw, explosive blast of grunge-inspired rock ‘n’ roll. A hauntingly alluring offering that leaves us excited for what this promising band have to offer in 2018. (ML)

Witch Fever – ‘Carpet Asphyxiation’ 
I just love the raw, frenzied cacophony and shrieking vocals of this explosive track from Manchester based grunge-punk band. Describing themselves as “making noise with our big muffs”, Witch Fever will be headlining our first live night at The Finsbury of 2018 next Friday, 12th January, and we could not be more excited! (ML)

The Nyx – ‘Only One’
We are so excited to have The Nyx performing alongside Witch Fever at The Finsbury on the 12th, and we can’t wait to hear this new track live in the flesh. The band are going to be releasing a new tune to coincide with the appearance of every full moon this year, so keep your eyes peeled for more releases from these talented, tenacious women. ‘Only One’ isn’t up on Spotify yet, so listen to it below. (KC)

Rage Against The Machine – ‘War Within A Breath’
Whilst Zach De La Rocha’s lyric “Everything can change, on a New Year’s Day” is a direct reference to the date the Zapatistas revolted against the Mexican government in 1994, it’s  the perfect mantra for anyone who thinks 2018 is the year to become more politically engaged. If I can learn this tiny piece of background info about ‘War Within A Breath’ from a quick Google search, there’s no excuse for us not to switch ourselves on to politics in 2018. Let’s not have a repeat of 2017 (please?) (KC)

Soundgarden – ‘The Day I Tried To Live’
The start of a new year often causes us to reflect on those we’ve lost over the last twelve months. For me, personally, Chris Cornell passing away in 2017 was massively affecting. I heard the news the same day I was diagnosed with Endometriosis, and immediately turned to the majestic dark solace of his creations, just as I had on first falling in love with him as a discombobulated teen. I find this track from 1994’s Superunknown particularly poignant; and the suicide of musicians such as Cornell and Linkin Park’s Chester Bennington recently, a real wake up call to the issue of mental health in the industry. (ML)

Moglebaum – ‘Phone’
Moglebaum are a five-piece electronic act from Germany, and ‘Phone’ is taken from their upcoming record Grown Heat. It’s an ever-changing electronic track whose samples, beats and vocals deliver something new each time I listen. This is the perfect track to slip into during the dark first month of 2018 – January, we’ve got you. Self-defined as “Organic Electronic” could these guys be the 2018 trend we’ve all been looking for? Get listening and get talking. (TW)

Bloom Twins – ‘Talk To Me’
Teaming up with charities to raise awareness of pressing issues is not a new concept for the Bloom Twins. 2015 saw the twins joining forces with UNICEF, covering John Lennon’s iconic ‘Imagine’, in a campaign for children’s rights across the globe. This time, they’re combining action with their harmony-strewn electro-pop with latest single ‘Talk To Me’, in which they raise awareness of the importance of talking about mental health. (ML)

Poppy Ackroyd – ‘The Calm Before’
Composer Poppy Ackroyd, is a trained pianist, violinist and producer, and this track is taken from her upcoming album Resolve (released on 26th Jan via One Little Indian Records). ‘The Calm Before’ is almost entirely made up of clarinet sounds, even the percussion was created using layers of clicking clarinet and bass clarinet keys, starting with a looped and chopped rhythm taken from an improvisation that appears throughout. I think it’s breathtakingly beautiful, and I can’t wait for the album. (TW)

David Bowie – ‘Lady Grinning Soul’
The world lost the Starman two years ago in January 2016, and I’m still not over it. Whilst picking a favourite song from Bowie’s diverse and impeccable discography is always a struggle, I’ve chosen ‘Lady Grinning Soul’ because it was one of the first tracks that struck a chord with me when I arrived (very late) to the Bowie-loving party. (KC)

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Interview: Bloom Twins

Teaming up with charities to raise awareness of pressing issues is not a new concept for the Bloom Twins. 2015 saw the twins joining forces with UNICEF, covering John Lennon’s iconic ‘Imagine’, in a campaign for children’s rights across the globe. And Bloom Twins are once again combining action with harmonies with their latest single ‘Talk To Me’, in which they raise awareness of the importance of talking about mental health – an issue which has affected them both personally.

Nicky Lee-Delisle caught up with the Bloom Twins to find out more about the latest single, and their experiences of mental health issues.

“We wrote ‘Talk To Me’ four years ago” the twins tell me. “One of our friends died from anorexia… Her grandmother died and she was the closest person to her. At some point she stopped talking to anybody and letting anyone in. Passing away from Anorexia was the consequence of not talking to people, and that is what the song is about. The whole idea is focused on talking to people and letting people in.”

The video for ‘Talk To Me’ is a harrowing race against time in an engulfing city landscape, reminding the viewer to take direct action in reaching out to those who need it before it is too late – “We tried to think about it, about what our friend was going through”, Bloom Twins explain. The lyrics are a genuine, heartfelt plea to open up about any troubles ‘Talk to me and speak your mind / I’ll stand beside you’. Songs are a powerful medium in conveying messages, with Anna and Sonia determined to use their platform to create positive change: “The song is about what we went through during that time, and urging those in similar positions to just to let it all out. Talk to people…”

Another platform for change that the twins speak passionately about is the poisoned chalice which is social media. “We wanted to make a change, we didn’t want to make it just about the music. We want to be a part of things which we are thinking about. Something we are striving to deliver. Right now everyone is so into Instagram – how you look and where you go. It’s not about what you’re doing anymore”, Sonia muses, “What I don’t like about social media is that people compare one another, but then we go against that. I find it stupid that people make jokes about others (on social media). Maybe that’s why people have issues talking about mental illness”. However, the Bloom Twins hope that their single will go some way in turning the negative side of social media on its head via their hashtag campaign #holdyourfriend. “That’s why we started talking to strangers (via social media) saying ‘do you want to be a part of it?’. I know it seems like we’re just promoting ourselves, but I was surprised how many people wanted to take part.”

Reaching out via social media is one way of being there for those who are in dark places, but what about those who we encounter in our day to day lives…? “I would say treat them normally”, Anna advices. “Don’t be like ‘oh that person is depressed, I need to be super-nice to them’ – never act too obviously that they are depressed.”

“I would spend more time with that person” adds Sonia. “Then at a point where that person would feel more comfortable with me I would say something like – ‘you know what, I’m going through bad times too!’”

The music industry itself is notorious for taking its toll on the mental health of those involved, and as much as popular culture feeds off the concept of the ‘tortured poet’ musicians are three times more likely to suffer from depression or anxiety than any other profession. The Bloom Twins moved over to London from their homeland of Ukraine at the young age of just seventeen in order to pursue their career in music, so what advice do they have in negotiating such a cut-throat industry? “It is very normal within any creative industry to feel down and feel like you’re not needed from the beginning. You feel like everybody is telling you ‘no’. You need to believe in yourself and it’s fine to feel down. Write a song whenever anything happens, let it out.” Although journeying through the music industry can be gruelling, the music which has been created as the end product can go far in the healing process for anyone who suffers from mental health issues. “Music holds a special place for us, listening to our favourite songs provides an escape. People tend to close inside of them off, and the only thing they can do is plug in those guys (mimes putting on headphones).”

Catch Bloom Twins live at Nambucca on 16th February for The N7 Sessions. And on 17th May at Camden Assembly for MaDa Music Entertainment.

Nicky Lee-Delisle
@Nicky__Lee

 

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Premiere: The Nyx – ‘Only One’

We’ve been huge fans of London band The Nyx for a while now. They’ve wowed us on numerous occasions with the electrifying energy of their live shows, received acclaim from the likes of Clash and Q Magazine for their eponymous debut EP, and have been responsible for one of our favourite tracks of 2017, with the seething ferocity of ‘Fire Breathing Lady’.

Now, with the start of a new year, The Nyx are back with a new release for every full moon of 2018. Kicking off the series is new single ‘Only One’. Out today, it oozes an immense, raw passion and emotion-strewn power; a perfectly glorious, riotous re-introduction to one of the most innovative bands of recent times.

We caught up with Becky from the band to find out more about the new releases and how The Nyx have come to be the exceptional, empowering force that they are today.

Hi! We’ve been big fans of The Nyx for a while now, but for those readers who aren’t familiar with the band, can you tell us a bit about who you are and what you do?
Hey, thank you! We are a group of women from London who make glass (ceiling) shattering rock music.

With empowering tracks such as ‘Fire Breathing Lady’, your music celebrates womanhood with an admirable energy. Did you make a conscious decision to focus on the theme of being female in your songs?
‘Being female’ is a large part of The Nyx. We’re purposefully an all-female group. The reason being – we’re stickin’ it to the man (both the system and the patriarchy)!! You only need to look at any Reading and Leeds festival line up, or any ‘Rock’ playlist on Spotify to realise how unbalanced the rock genre is (which mirrors the wider music industry, and also most other industries, and the world at large). It’s very frustrating, and part of The Nyx’s existence is, to quote Gandhi, “to be the change we want to see”. So, we do have some songs which channel the frustration we feel at the state of feminism, and it’s no surprise that they’re usually the heavier, more angsty tracks like ‘Fire Breathing Lady’. We always make sure they’re positive and empowering, but they come from a pretty pissed off place… But in all honesty, most of our tracks actually don’t focus on female empowerment. Most of them are pretty personal, or even political. Feminism is just one string on a large bow for us.

And will the new songs you release this year be continuing in the same vein?
I think we’re going to surprise a lot of people this year with what we’ve got planned. The music we’ve released so far as The Nyx, and the songs we’ve played live, are all pretty similar. Big rock, energetic tracks. But we’re actually a lot more versatile than that, and we haven’t really shown our true colours yet. We’ve got a whole load of slower jams under our belt. We’re also planning an acoustic release, and maybe even some genre clashes!!

Having so many releases planned next year will allow us to get that across, as opposed to what’s possible with a restrictive 4 track EP. Each full moon release stands on its own; we’re not playing to any rules. I kind of imagine it’s like we’re throwing punches. Oh, a soft track, cool, I know exactly who The Nyx are – another wishy washy girl band; oh SHIT, it’s a heavy banger; DAMN, that riff. WHAT?!?! Acoustic track uppercut, wasn’t expecting that; IS THAT A COVER coming at me from behind?! WOAH, I was just tripped up by a reggae song… The aim is to blow all expectations out of the ring. Those who know us already, we’re only just getting started. Those who don’t, you won’t have seen anything like this before.

You’re going to be releasing a new song on each full moon of 2018, which is a pretty unique idea. What was it that inspired you to do this?
Being in an unsigned band with limited/zero funds can sometimes feel like you’re screaming at the top of your lungs while floating through space. We released our first EP in 2017. We worked really hard at it but it just didn’t get enough exposure to elevate us. Following that we recorded two more tracks, which we’ve been sitting on for about a year, and have been waiting to release. While hitting our heads against a brick wall – thinking “are we just going to let these tracks loose into the big scary internet again so our Mums can listen to them 50 times and that’s about it” – the idea seemingly fell out of the sky. Release a track every full moon. It just felt so right. It was something really different – which showcases how much of an innovative band we are. We don’t want to follow what’s come before. It also linked perfectly with our ‘brand’ and what we stand for. The Nyx is named after the Greek Goddess of the night. Each moon represents a monthly cycle. It just represents us and what we stand for perfectly.

Releasing a track every full moon for a year also represented how we really want to make this year ours. We’ve been slogging along as a band for around five years now: two years as The Nyx, three years under a different name. In the two years of The Nyx, we’ve managed to lose three drummers which has really tripped us up every time, and made us ask “is someone trying to tell us something here???” We are so unbelievably passionate about what we do, which is why we keep giving it our all despite the sometimes bleak outlook over the past five years. As careers try to drag us into the system, and the band started to drift into a dream rather than a goal, we decided FUCK THIS we’re taking control. The full moon releases represent this.

The first new single ‘Only One’ is out today. Can you tell us a bit about the track and what it’s all about?
Something we’ve never been outwardly open about with the band is that me (Becky) and Simone are in a relationship and have been for the past five years. Especially in the early years of the band, we kind of kept it under wraps, thinking it was a ‘professional’ thing to do. But our connection is a huuuge part of what The Nyx is. ‘Only One’ is written about us.

What was the recording process of the new material like, and how did it differ from your previous work? Does one of you tend to do the majority of the writing, or do you take turns and share the responsibility?
‘Only One’ was actually recorded over a year ago now, and even in 12 months, it feels a bit old! I think that shows how much we’ve been growing as a band recently – we’ve really found our sound now. This time last year (with ‘Only One’), it was in its adolescence. I think that’s something which has made the five years of the band really worthwhile; we’ve bounced through multiple genres, and finally settled on a sound which feels like it’s OURS. The way it used to be is I’d write some songs, Simone would write some songs, then we’d play our separate songs. In the early days there was a really clear difference in the writing styles – my tracks were a lot more bluesy, Simone’s much more soul-infused. Coming to our shows was like watching two different bands in one. Then, over the years, we’ve fused together. We’ve found our flow.

Recently, we’ve been in the studio with Grammy award-winning producer Tommaso Colliva (Muse, Phoenix). We’ve currently recorded two tracks with him, which will be our 3rd and 4th full moon releases. They’ve really stepped up the game for us, which is how we’re looking to continue throughout the year with our releases, with each one building on the last.

Following the release of ‘Only One’, you’re going to be playing for us at The Finsbury on 12th January (which is going to be awesome!). What can fans expect from your live shows?
We are SO excited for 12th January because it’s our first gig in about 6 months (so we might actually explode on stage!). Also, it will be the first show playing with our new drummer who is amazing and we can’t wait to unveil her (also shitting it because she’s only been with us a month = pressure). Half the songs in the set are completely new so it’s kind of the first show of the new era of The Nyx (also = pressure). Playing live is where we shine. Our energy is something we’re often praised for, and live shows are where we can really get that across. We’re all completely invested in the moment and just let go of everything. Anything can happen and no two shows are the same. Come see for yourself!

And finally, with all these new tracks set for release, will there be an album coming up on the horizon?
We’re going to finish the year with thirteen tracks released. Feels like quite a nice album doesn’t it? But in all honesty, we’re not thinking that far ahead yet. We’ve only got four tracks recorded so far. And it was only last week that we discovered 2018 was an odd year where there’s an extra moon, so that’s made our lives a lot easier… We’re going to take it month by month and see what happens. But we know we’ve really set ourselves up for a challenge here. Again, being an unsigned band with zero funds, I really don’t know what the hell we’re thinking. But it feels right, and with enough growing support it will really spur us on to make this our year.

Huge thanks to The Nyx for answering our questions! Listen to brand new single ‘Only One’, for the first time, here:

 

Catch The Nyx at The Finsbury on 12th January for Get In Her Ears Live, along with Witch Fever, ARXX and Militant Girlfriend!

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