INTERVIEW: Beckie Margaret

Since the release of her debut single ‘Cars & Catacombs’ via Cool Thing Records in 2017, Essex songwriter Beckie Margaret has been working hard crafting cinematic, reflective soundscapes about her experiences as a young woman. With her latest single ‘Divine Feminine’ she’s reaching new heights in terms of artistic confidence, and strengthening our belief that she’s one of the most naturally gifted songwriters we’ve had the pleasure of listening to. We had a quick catch up with Beckie to talk about her latest single, her upcoming debut album, her memories of the Sofar Sounds & GIHE gig she played just before the first lockdown in March, and whether there might be a seasonal single on the horizon…

Hello Beckie, how have you been coping and staying creative during the on-going Covid-19 pandemic?
It’s definitely been difficult to stay creative during Covid. I’ve really had to remind myself to unlock that child-like mind set so I can then sit down and write or create. I definitely have to work in short, quick bursts now though, otherwise the stresses of the world seep into my work.

You’ve just released your new single ‘Divine Feminine’. Talk us through what inspired you to write it.
The main thing that inspired ‘Divine Feminine’ was the observation of people that drain your energy and keep you from reaching your highest self. I think in your 20’s you realise that not everyone has your best interests at heart, so it’s a semi diss track I suppose. I like to think it reflects the aggression of this year in many ways.

You’ve been busy recording your debut album this year. Talk us through some of the highlights of the process, and what your anticipations are for the record once it’s complete.
I’m very much a studio girl so making an album was very special, especially at SS2 with Rees Broomfield who is absolutely incredible and completely understood my creative vision. Having Rees as well as my band to help with hybrid tracking on some of the more organic tunes really made the whole experience perfect. I already can’t wait to record another, everyday was a highlight to be honest.

You played live for GIHE & Sofar Sounds in March about a week before the first lockdown was put into place. What are your main memories from this night?
That was my first Sofar Sounds, so for it to be a GIHE event too was lovely. A really tender night full of honest acts and a respectful audience. As well as the hosting being amazing by Kate and Tash/ I’m glad it was the last gig I played before lockdown, it for sure kept me going thinking about how wholesome the evening was.

Any artists or bands you can recommend we listen to at the moment?
Arlo Parks’ writing is amazing, I’ve been listening to her a lot. I have had slowthai on repeat as well.

Finally, Christmas is coming up…have you ever been tempted to work your magic on a festive classic?
I literally say this every year, I WILL write a Christmas song! I’m so up for it. I would so channel a Coldplay Christmas song vibe, on my list of things to do…

Thanks to Beckie for chatting to us!
Follow her on Spotify, Instagram, Facebook & Twitter for more updates.

Photo Credit: Antonio Milevcic

Kate Crudgington
@KCBobCut

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Track Of The Day: Poppy Ajudha – ‘Watermelon Man (Under The Sun)’

A charming, empowering re-work of American pianist Herbie Hancock’s original tune, vocalist Poppy Ajudha has shared her version of ‘Watermelon Man’ as part of the Blue Note Re:imagined project. Bringing together the label’s musical past and future, the project features contributions from internationally acclaimed jazz, soul and R&B acts.

“Herbie’s ‘Watermelon Man’ was my first thought when asked to imagine a track from the Blue Note catalogue,” explains Ajudha. “It’s an iconic song and one that has been with me throughout my life. I based the lyrics on my research of Watermelon Men in America, aiming to capture what it may have been like to be a black man in America at that time – newly emancipated but still heavily oppressed – and the race relations that had brought him to this point.”

Through empathetic lyricism and effortless vocal delivery, Ajudha reminds listeners a “change is gonna come, don’t give up on yourself, don’t give yourself away”. In the accompanying video for the track, she continues to celebrate blackness and the strength of the black community by working with an entirely black and mixed-race team.

“I wanted the video for Watermelon Man to be a celebration of blackness in all its forms, I wanted it to show joy and community,” Ajudha explains. “I cast my sisters, my best friends, and my grandma amongst all of the other beautiful souls. It was a really special video for me, and the team captured this vision incredibly. The feeling was unspoken because they just knew what I wanted and why it was important, they felt it too, I’m so happy with how it turned out.”

Watch the video for ‘Watermelon Man (Under The Sun)’ below.

Follow Poppy Ajudha on Facebook, Instagram, Spotify & Twitter for more updates.

Kate Crudgington
@KCBobCut

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Track Of The Day: Zilched – ‘Sixteen’

A swirling, grungy reflection on the contradictions that come with growing up, Detroit-based songwriter Zilched has shared her latest single ‘Sixteen’. Lifted from her recent debut album DOOMPOP, released via Young Heavy Souls, the track smoulders with fuzzy guitar sounds, frantic drums and Zilched’s strung out vocals.

“It’s more or less about questioning both what marks a loss of innocence, and the obsessive purgatory of waiting for your life to start,” Zilched (aka Chloë Drallos) explains about ‘Sixteen’. She explores the sting of being caught between adolescence and adulthood through moody reverb-heavy guitars and her deadpan Kim Gordon-esque vocal delivery.

Inspired by 90s grunge icons like Nirvana and The Jesus and Mary Chain, Zilched has channelled her influences into a collection of compelling noise-pop tracks on debut record DOOMPOP. “It’s an honest reflection of my attempts to grow up and make sense of absurdity,” she explains about the album. “I wrote the first song in my last month of high school at 18, and finished recording/producing just a month after my 20th birthday. With these songs I wanted to go as deep into my insecurities and confusion, however immature I felt. Just write what I felt when I felt it in order to move on.”

Watch the self-directed video for ‘Sixteen’ below and follow Zilched on bandcamp, Facebook & Instagram for more updates.

Kate Crudgington
@KCBobCut

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LISTEN: Two Tribes – ‘Cruel Sensuality’

Full of commanding beats, jagged synths and soaring vocals, Two Tribes‘ latest single ‘Cruel Sensuality’ is a cathartic oscillation between emotional resilience and the unexpected apathy that comes with the ending of a relationship. Taken from their upcoming EP, which is set for release in 2021, the London-based trio blend vivid electronic textures with jolting rhythms to create an anthemic new sound.

“The lyrics focus on detaching yourself emotionally from another person, making the transition from sensuous to desensitised, trying to figure out what part of yourself needs to be severed in order to leave a bad situation behind,” the band explain about the track. This emotional catharsis is led by Annalisa Iembo’s striking vocals, and accompanied by a backdrop of intoxicating electronica.

“Identity is a common theme in our music, and writing ‘Cruel Sensuality’ was an opportunity to explore the self-reflection and reinvention that occurs when dismantling a relationship”, the band continue. Formed of Patrick Smith (vocals/guitars), Annalisa Iembo (vocals/synths/samples) and Kim Engelhardt (bass), Two Tribes take inspiration from an eclectic range of influences such as Primal Scream, Jagwar Ma, Grimes and Pretty Hate Machine-era Nine Inch Nails, from which they’re carefully carving their own musical identity.

Listen to ‘Cruel Sensuality’ below.

 

Follow Two Tribes on Spotify, Instagram, Twitter & Facebook for more updates.

Kate Crudgington
@KCBobCut

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