FIVE FAVOURITES: NEXT TO NADA

London-based noise makers NEXT TO NADA have been busy cutting their teeth on the city’s live circuit for the past twelve months. Formed of Leah Francesca (L. Francesca) Liddle, Thom (Tom) Oliver (Revitt), Georgie Bogle (Gigi Ruckus) and Jason Davies; together they create grinding, punk-infused anthems that reflect on the pent up frustrations of everyday life.

NEXT TO NADA will be self-releasing their upcoming EP, WHINE // MOTHS, on the 15th March, and they’ll celebrating their new record with gigs at The Finsbury Pub in Manor House on 13th April, and at the Dublin Castle in Camden on 30th May.

We think one of the best ways to get to know a band is by asking what music inspired them to write in the first place. We caught up with bassist L. Francesca to ask about their “Five Favourites” – five tracks that have inspired their songwriting techniques. Check out her choices below and scroll down to listen to NEXT TO NADA’S latest single ‘Whine, Lips’ at the end of this post…

1. Nick Cave and the Bad Seeds – ‘Hiding All Away’
I’ve not been a Catholic for a while, but I’ve got a real thing for songs that make me feel like I’m back in the pews. What actually goes on in Nick Cave’s songs is so straightforwardly rock and roll – angsty, sexy, cocksure – but in execution it sounds like it’s coming straight from Mount Sinai or Golgotha. Gospel choirs and everything! I will never forget hearing that almighty ‘There Is a War Coming’ in the outro for the first time. And yet it’s all rooted in the blues, in the same way The Stooges or Captain Beefheart were, it’s not trying to elevate its genre, just push it to its absolute limits. And for a track that’s so steeped in both high culture and low culture there’s such an intoxicating lack of self-deprecation; there’s no sense that Cave’s worried about coming across as pretentious or preachy. And I find that inspiring, I really do. I’m a melodramatic person, and nobody legitimizes melodrama like Nick Cave.

2. The Yeah Yeah Yeahs – ‘Dull Life’
I think it’s funny that “Pop Punk” is a specific genre, but the term could describe so much. I mean, isn’t that what New Wave is? Just taken as adjectives, nothing embodies “Pop Punk” to me like ‘Dull Life’ does. It’s hook after hook, but it’s dangerous and thrilling and it goes about being both in a really clever, imaginative way. They aren’t pop hooks, exactly; they’re written for riffs, not beats, but they manage to do what pop hooks do. I especially love the second verse, where you’ve got Karen O multitracking melodic singing over distant screams of the same lyrics – I want to do that on one of our songs at some point. NEXT TO NADA initially was way more Britpop influenced and got a lot heavier over time, but we still care about hooks and melodies, it’s just about making those work in the context of a heavy rock band. That’s something the Yeah Yeah Yeahs really understand.

3. Joanna Newsom – ‘Sapokanikan’
As far as I’m concerned, Joanna Newsom is the greatest lyricist of all time. Her imagery, her metaphors, even her rhyme-schemes are always so complicated and must box her into so many corners. But she always manages to write her way out of it, and leads the song on this merry chase through so many meanings and implications; I refuse to believe she was aware of all of them when she started writing. It’s so easy as a songwriter to compromise your structure by ignoring it for a bit in order to make sure you’re saying things right, but I think that that’s a mistake, because you discover so much by rising to your own challenges. I also love how geeky ‘Sapokanikan’ is, it’s full of references to American history and geography, and it’s such a great feeling to hear someone sing about something you’ve only ever read about in dry educational contexts and think… oh shit, that can be a metaphor!

4. Fugazi – ‘Bed For the Scraping’
The main way I write basslines is with a trick I call “lines and then coloring”. I start off with a jump of root note to octave to set the chord, and then “colour it in” with a bit of melody before landing back on the root in the next bar. That came from here. I’ve never wanted my bass to be the lead instrument, but I don’t really see myself as rhythm, either, I’m more like the guitars’ backing vocalist; I’m playing a melodic instrument but I have to step lightly with it, because everything I do sets the harmony. And Joe Lally is so good at working within that restriction. He barely ever follows the guitar in ‘Bed for the Scraping’ but as great as the bass hook is, it’s never just for itself. Plus he’s working with two guitarists, like I have to; he knows he can’t add too much on top, but he knows what space in the middle of things he’s been given, and how to use every inch of it. It’s amazing.

5. Hop Along – ‘Sister Cities’
I play in a real loud rock band but I think I have a very singer-songwriter-ish way of writing songs; it starts with lyrics, not riffs. Hop Along’s whole Painted Shut album is such a great reference point for that sort of thing because it sounds like you took an Elliott Smith record and wired it to some jumper cables. It’s a real gnarly album in a lot of places, and ‘Sister Cities’ is a highlight for riffs and solos, but even then they’re never leading the story, they’re just helping tell it. And the sound is so versatile. It could be a Dinosaur Jr song, but there are also songs on the album that feel like Phoebe Bridgers, and they still all sound like Hop Along. Also – Frances Quinlan has the most amazing voice I’ve ever heard. I can’t really say it’s an influence, cause the first year of me learning to sing was mostly spent accepting that I’ll never sound like they do, but covering this song on my old Squier strat during lockdown is where I started with all this.

Thanks to Leah for sharing her favourites with us!
Listen to ‘Whine, Lips’ by NEXT TO NADA below

Follow NEXT TO NADA on Spotify, bandcamp, Facebook & Instagram

Photo Credit: Elspey Photography

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LIVE (Photos): Cherym @ Paper Dress Vintage, 24.02.2024

Having just released their debut album, Take It Or Leave It, last month via Alcopop! Records, Northern Irish trio Cherym have been big faves of ours since I first fell in love with them playing Paper Dress Vintage back in 2021. And I was lucky enough to re-live this experience last Saturday as they returned to the venue, delivering an even more wonderful set to an even bigger and adoring crowd. Fizzing with all the colourful punk-pop energy we’ve come to know and love, whilst offering fierce reflections on gender inequality and violence against women, as well as their own lived experiences as Gen Z queer folk, both the album and their live set continue to cement Cherym as one of the most exciting bands around at the moment. And I fully expect to be seeing and hearing lots more of them throughout 2024 – find out more here.

As well as immersing ourselves in their captivating raging joy at the gig last week, we were lucky enough to have a quick chat with Hannah and Alannah from the band about the tour and the new album. See our photos of the night, including excellent support from new faves Brutalligators and Hamburg’s Get Jealous, and snippets from the interview below…

Hannah: “The tour has been really, really good – we sold out our first ever Manchester headline show which was really exciting, and we also sold out our London show which is incredible. For me, it just sort of confirmed there has been a growth for the band and that more people are starting to hear our music which is amazing, and it’s a really exciting thing that’s starting to happen. We’re currently just back from the Netherlands which was really cool, there were loads of people we got to see that we haven’t met before that we’ve seen online and stuff. It was just really exciting.”

Hannah: “We wanted this album to be our truth. We wanted to be unapologetically ourselves, and I feel like that’s what we stuck by. People always used to label us as being a political band based primarily off the fact that we were all femme presenting people. We were all women and non-binary people within the band, and we were all also queer, but we never outwardly said we were a political band, we just got labelled as such. So I think with this record we were like, ‘you know what, we’ll give you political’. We have songs like ‘Alpha Beta Sigma‘ that’s very reflective of everything that’s been happening, like the atrocities of the church back home, and songs like ‘The Thing About Them’ which is about Nyree’s experience as a non-binary person, and we just wanted to speak our truth on a lot of issues.”

Alannah: “The fans have been really supportive. The new fans especially have really grasped onto the album and it’s been really lovely to see that we’ve connected with so many people. The fans that have stuck by us for a really long time have really resonated with it as well. A lot of our fans tend to be one of two people – old punk rockers who feel nostalgic about the new punk scene, and then the other side is younger fans who can relate to the lyricism and style of music that we play. When we were teenagers we really had nobody to look up to, or if there were they would be hidden between all the mainstream artists who were white men. It’s kind of nice that we’ve been able to showcase queer punk because we all come from different backgrounds, and it’s nice to see younger fans identify with that.”

Alannah: “I think our festival season is going to be really interesting this year with the new album out in the world. We’re hoping to go abroad this time again when it comes to festivals, some bigger and better things — climbing up that ladder -, which we’re really excited for. There may be some announcements coming soon too…

Hannah: “Yeah new adventures in new territories! Next for us is the Enter Shikari shows in Ireland, so we’ve got two shows in Dublin and we’ve got a show in Belfast as well, which is just insane because we’ve all been fans of this band from when we were teenagers, so to be selected to be one of the support acts for this tour is incredible. And we’re playing with Meryl Streek as well, which is going to be amazing – we love Meryl and we love his music and everything he stands for, so it’s going to be really cool.”

Alannah: “We also have something exciting in the bag that we recently announced… Our cover of Doja Cat’s ‘Boss Bitch’ which is coming out on International Women’s Day, so we’re really excited to see the reception for that! We’re also doing German dates with Get Jealous and we’re also playing again in Germany later this year with The Undertones – I think that’s all we can say without getting in trouble for now!”

Get Jealous:

Brutalligators:

Massive thanks to Hannah and Alannah from Cherym for chatting to us, and putting on such a wonderful show at Paper Dress Vintage last weekend! Take It Or Leave It, the new debut album from Cherym, is out now via Alcopop! Records – order here.

Photo Credit: Paul Dawes / @GRNDglass

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LIVE: NYX at Queen Elizabeth Hall, Southbank Centre, London (25.02.24)

Utilizing the power of the human voice and transforming it to provide a performance of cell-tingling virtuosity; the NYX Drone Choir debuted a darkly sublime electronic-choral composition at Southbank Centre’s Queen Elizabeth Hall last weekend. Performing a continuous 60 minute piece of work to a sold out venue, the choir shared their idiosyncratic sounds which fluctuated in volume and intensity, and shifted from seraphic to seance-like to provide an utterly captivating display.

The last time we saw NYX live, they were performing Deep England at The Barbican alongside Gazelle Twin, as part of the 50th anniversary celebration of the cult folk-horror film, The Wickerman. Despite witnessing this production between the two creative forces many times before, the repetition did not detract from the majestic power of the first listen, which retained its unique nerve-shredding energy. Knowing what the NYX Choir are capable of thanks to these special collaborative performances, it’s no surprise that their new solo work is equally as exquisite.

Developed during their residency as part of the Southbank Centre Studio programme in 2023 (a project which enables creative development and cross-art-form collaboration), NYX crafted an intense, primal, utterly distinctive blend of potent vocals, mesmerising drone sounds and captivating electronic soundscapes. Shrouded under heavy blue light whilst standing in a semi-circle on stage, each member of the choir was clothed in a costume that cut an intriguing shadow. Violinist Alicia Jane Turner was rooted in the centre, with the accompanying members Cecilia Morgan, Phoebe Pimlott, Rhianna Compton, Rachel Oyawale and Shireen Qureshi positioned either side of them, and composer Sian O’Gorman closest to the crowd, standing stage right.

To dissect specific elements of the performance is to do it a disservice. The fluidity that NYX instinctively embody when performing live is a true spectacle and a testament to their passion for using the human voice as a collective instrument. Sometimes their vocals are canonical, and at other points they remain silent to spotlight the powerful solo vocal of a specific choir member. Early on in the performance, one member is hunched over, making heaving motions with their body, expelling strange, guttural whisperings and noises as their fellow vocalists sing in sweet unison around them. This dynamic, shape-shifting style of performance is what makes NYX’s live shows so special.

This shape-shifting is literal too. Choir members assume different levels and positions throughout the piece. Some stand statuesque, whilst another might lay stationary on the ground. One member might be sat facing away from the crowd, whilst another moves slowly towards the front of the stage to stare directly into the audience. The potency of their live show is made all the more palpable by these simple but effective movements. There is an altruistic element to all that NYX do, and that is especially clear during these parts of their performance. It subtly manipulates the attention of the audience, encouraging them to observe the individuals or who working in harmony to create a powerful communal production.

Watching NYX live inspires a formidable level of concentration and deep listening. They have a sound that seeps through the skin and into the bones; amalgamating dense yet atmospheric drone textures with their utterly beguiling vocals. Their new composition is another compelling example of their innovative aural storytelling potential. It is a must see performance; truly eccentric and totally unforgettable.

Follow NYX on bandcamp, Spotify, Instagram, (X) & Facebook

Performance Credits
Composer: Sian O’Gorman
Costume Designer: Tom Scutt
Lighting Designer: Philippa Neels
Embodiment Director: Imogen Knight

Photo Credit: Joseph Lynn (@joelynntw)

Kate Crudgington
@KCBobCut

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FIVE FAVOURITES: The Klittens

Blending buoyant riffs, playful lyrics and infectious melodies together to create their lo-fi indie sounds, Amsterdam five-piece The Klittens are gearing up to release their new EP, Butter, on the 8th March.

Formed of Yaël Dekker (lead vocals), Katja Kahana (guitar & backing vocals), Winnie Conradi (guitar & backing vocals), Michelle Geraerts (bass & backing vocals), and Laurie Zantinge (drums), the band have spent the past few months on the road performing live across the UK, returning to their hometown tonight (March 1st) to play their EP launch show at the Cinetol in Amsterdam.

We think one of the best ways to get to know a band is by asking what music inspired them to write in the first place. We caught up with The Klittens to ask about their “Five Favourites” – five albums that have inspired their songwriting techniques. Check out their choices below and scroll down to listen to their latest single ‘Reading Material’ at the end of this post…

 

1. Blonde Redhead – Melody of Certain Damaged Lemons
Winnie Conradi: I remember the first time I heard Blonde Redhead. I was a 20 year old student who had just moved to Amsterdam. Their song ‘In Particular’ appeared in my Discover Weekly and I haven’t stopped listening to it since. Later, I got into Sonic Youth and this sparked an interest in me to listen to the full Blonde Redhead album. I was immediately hooked: the melodies are beautiful and quite dark, the album has a huge dynamic range, and the voices of Kazu and Amedeo are these perfectly imperfect entities. This album ticks all my boxes and there is not one moment where my focus drifts off. Simone, the drummer, is phenomenal and knows exactly how to weave himself into the songs, almost like a melodic instrument. This makes the music incredibly exciting to listen to, I’m always on the edge of my seat or jumping around listening to this. When I think about a future The Klittens album, this is a great inspiration for me because I would love for the debut album to also be dynamic, dark, exciting, emotional and poetic.

2. Stereolab – Switched On
Katja Kahana: One of my favorite albums, or compilations, is Switched On. I have loved it for so long and it still makes me happy. When first discovering the songs, I was so excited that I immediately wanted to share one with Yaël, who was already lying in bed, so instead I sang it to her while she was drifting off to sleep. The atmosphere has something optimistic and encouraging about it. I like the combination of grittiness on one side and warm melodies on the other, and how the consistent rhythm creates room for playfulness. Stereolab always inspires me when writing music.

3. The Prodigy – Music for the Jilted Generation
Yaël Dekker: I suck at these kinds of questions and I guess I don’t listen to albums the way they were “intended” enough. The first time I consciously heard a Prodigy track was when I was 9 and snuck into the movie theater to watch Charlie’s Angels: Full Throttle, an amazing movie. There’s this scene where Drew Barrymore dropkicks a buff sword-wielding Irish guy in a burning warehouse, underscored by Firestarter. I guess that just really resonates with me as an artist. Recently I came to the conclusion that I listen to this album a whole bunch, every day even, and I won’t stop soon. It’s the best soundtrack while walking through a city, doesn’t give you time to think, bleak enough to match the landscape. Just really good, in an angry and happy way, and also pretty damn funny.

4. Institute – Catharsis
Marrit Meinema: This is one of the few albums that never bores me, and I think that as a newcomer to The Klittens, it also, in surprising ways, ties in with what drew me to the band (and why I’m so happy to play with them). There’s a certain cynicism in Moze’s lyrics that resonates with me, which I also find in the lyrics of The Klittens. While themes may differ, the lyrics evoke a mix of poetry, a sense of banality and debunking preconceived notions of humanity. The drums sound amazing, Adam is a true machine, driving each song with such force and finesse. The gritty, distorted bass, the wailing guitar melodies as well as their upbeat riffs never cease to send shivers down my spine. It’s an amazing punk (rock) album, whatever genre you want to give it (i’m horrible at it), but still something you can dance to. I think it’s this attitude that I also find in The Klittens, which I love and hope to bring to the band as well (together with my distorted bass, naturally).

5. Kraftwerk – Die Mensch-Maschine
Laurie Zantinge: My father is a huge Kraftwerk fan and at home we always had either Kraftwerk or the Smurf House Hits CD on. Although the Smurfs also had a great influence on my taste in music, I think Kraftwerk is a bit more credible. I chose Die Mensch-Maschine because this album is packed with certified pop bangers and it is just true nostalgia to me. I was lucky enough to see Kraftwerk live a couple of times and everytime I see a Kraftwerk show I’m completely blown away. Normally I prefer watching bands where you can see exactly who is playing what instrument and making what sound, but with Kraftwerk I make the exception to enjoy watching four men in lycra suits standing still and turning some knobs. Also the sound at their live shows is always more than amazing, it really gives you the space to completely immerse yourself into the sounds of the pioneers of electronic pop music. Although there’s almost no similarities between Kraftwerk and The Klittens, I think the repetitiveness and drone-like sounds are things that I really like to take with me when writing songs.

Thanks to The Klittens for sharing their favourite albums with us!
Pre-order The Klittens’ upcoming EP, Butter, here

Check out the video for their single ‘Reading Material’ below

Photo Credit: Jade Sastropawiro

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