INTERVIEW: Nova Twins

It’s the last night of Nova Twins’ European tour when I speak to vocalist & guitarist Amy Love and bassist Georgia South. They’re in Zurich sat in the excellently decorated basement of Dynamo Werk 21, the venue they’ll be playing later that day, which features a huge wall of colourful cassette tapes and tiles with various graffiti scribbles. The band have been bringing the gargantuan sounds of their Mercury Prize nominated album Supernova to crowds across the continent, and they’re ready to bring the riot one last time, before heading back to the UK.

“We did our US tour before this one, so we haven’t actually been home for a few months,” Amy explains. “It’s been really good, but it will be nice to get home, catch up with family and to play our biggest headline shows to date in the UK.”

“It’s our last show with Dream Nails tonight too,” Georgia adds. “They’ve been really amazing to take out in Europe, the shows have been so fun.”

Nova Twins’ extensive touring schedule is something that understandably requires a lot of stamina and focus. The pair explain that they try to maintain good physical and mental health whilst travelling between cities, playing high octane sets to their raucously supportive crowds. I ask how they manage such an impressive feat.

“I mean, we try to do sit ups everyday, but that usually only lasts for about three days,” laughs Amy. “But overall, we’re quite healthy, especially because our shows are high energy, so we need to look after ourselves physically. We don’t really booze a lot on tour, and we try to eat well, so when we do start feeling fatigued, we make sure we’re warming up our voices and your bodies before we go on stage. So that is really, really helpful.”

“Also, on this tour, we forced ourselves to do things, even though we were really tired,” Amy acknowledges. “We had some spare time when we were in Amsterdam that we could’ve spent in the hotel catching up on sleep, but we were like ‘No!’ We forced ourselves out of the weird Groundhog-Day-tour thing and we went and explored and it made us feel so much better.”

“I would say go on walks when you can too,” advises Georgia. “It’s really hard to get time and space to yourself on tour, especially because you’re in the van all day, then you get to the venue, you sound check and do the show, and then you do the same thing everyday for the next seven weeks. It’s important to have time to yourself, even if it’s just a nice shower! Going out for a nice dinner with the crew is always good too.” The pair shared pictures of them enjoying one of these dinners with Dream Nails in Reims on their socials earlier on in the tour.

Nova Twins have been the support acts on tours with established acts like Prophets Of Rage and Bring Me The Horizon, so I ask them what process they go through when it comes to choosing support artists for their own shows.

“It’s really important for us to make sure that we’re working with women, non-binary, trans and artists of colour, because we’re normally the ones that have been left at the back in the alternative scene,” Amy explains. “We created a playlist called Voices For The Unheard that is predominantly artists of colour who make alternative music, and we’ve been taking different people from this playlist on tour with us. We had Gully Boys with us in the US, CHERYM on a previous UK tour, and now we have Dream Nails and Aziya too. We just want to shine a light on them, because they’re all amazing and incredible in their own right.”

Since their inception, Nova Twins have pushed the boundaries for artists of colour in heavy music. From their open letter to the MOBO Awards asking the panel to consider adding a Rock/Alternative category, curating their Voices For The Unheard Playlist and having Dr Martens press a limited edition vinyl for it, to simply existing in a predominantly white, male music genre; Amy & Georgia have remained true to themselves and their communities in an industry that often tries to crush artists who attempt to do this.

The duo’s knockout second album, Supernova, was nominated for this year’s Mercury Prize Award too. The nomination was not only hugely deserved, but it was groundbreaking as they were the first women of colour who make heavy, alternative music to be acknowledged for the award. Despite the original ceremony being disrupted by the death of Queen Elizabeth II, the duo were thrilled to perform ‘Antagonist’ at the awards show once things were back on track.

“We grew up watching The Mercury Prize awards and we would always look at the list of nominees, so to be included was literally a childhood dream,” Georgia enthuses. “To be on such a great award show that rewards people for their art, not just for numbers and record sales. The whole day was just great vibes. Because it was round two, everybody was less nervous and more excited to see each other again.”

“Little Simz was outstanding, she really did captivate the room,” Amy remembers. “I think everyone just brought their A game. They were just there doing what they love. It felt like a room full of like-minded people, sharing the space and supporting each other. We’ve heard from other artists who have been to other award ceremonies where there’s been a weird competitive vibe in the air, but The Mercurys didn’t feel like that. It just felt like a celebration of everyone’s albums. Everyone was so happy for each other.”

It seems like a good time to dive into what the band are most proud of about their second album, Supernova. Of course, the pair appreciate the critical acclaim surrounding their record, but on a personal level, it means much more to them.

“Going through the pandemic was a tough time for everybody in different ways, and I think we are just super proud that we got to actually make the album during that time,” Amy reflects. “We found so much focus and so much peace in it. When everything else was so uncertain, we had the album. We were separated during lockdown, so it was a really good way for us to to remain connected and to surprise each other with ideas, and to have things to look forward to.

When we finished writing it, we really hoped it wasn’t going to be one of those albums that gets thrown out there, and then nothing happens with it, you know? We just hoped it would have a good lease of life, because we put our heart and soul into it. We’re just really proud that we even managed to get it together in such a weird time. Whatever was going on around us didn’t really break us, we kept going and moving forward, which is something to be said in this industry.”

As a DIY journalist, it’s been a privilege to watch Amy & Georgia catapult themselves over the barriers that have traditionally held female artists of colour back for years. Not only do they make phenomenal, genre-defying music, they remain focused on their DIY ethos of lifting others up with them as they move on to the next step, not forgetting the fans and the platforms that have supported them from day one.

This passion is shared by their fans and followers, who have been selling out the majority of venues on the band’s recent EU tour. When asked which songs from the new album hit hardest, the pair are quick to claim ‘Choose Your Fighter’ and ‘Antagonist’ as the most energetic of the new tunes. “’K.M.B.’ (Kill My Boyfriend) is quite cute actually,” Amy adds, “especially when everyone screams that at the top of their lungs. You can really feel the heartbreak with that one!”

From live shows, to the Radio 1 Live Lounge! Nova Twins recently delivered an iconic version of Beyonce’s ‘Break My Soul’ for the show’s hugely popular segment.

“It was always going to be tricky to pick a song, because we’re not a band who really come from a covers background,” Amy explains. “We just knew we had to cover Queen Bey and we had to do her justice. It was so nerve wracking, because you only get one take. You speak to Ricky and Melvin, and then it’s like ‘take it away!’ but we were really happy with the outcome.”

“We love Beyonce. Beyonce is queen to us. She’s a goddess,” enthuses Georgia. “It was fun because the song is so different from our own music, which meant we could just completely mess with it.”

Nova Twins creativity doesn’t just extend to covering Queen Bey’s club banger though. For years, Amy & Georgia have been customizing and creating their own outfits for video shoots and live sets under the moniker of Bad Stitches.

“We knew that we really wanted to make our own outfits for The Mercury Awards, so we spent three days making them in between rehearsals,” Georgia explains. “You just have to cram it in really. We’ve discovered that sometimes you just have to stay up until three in the morning to fit everything in, it’s just how it is,” she laughs, “eventually we’d love to be able to expand Bad Stitches so that other people can buy our clothes too.”

The duo will no doubt be wearing their best threads for their upcoming UK shows, beginning in Glasgow on 10th November, Manchester on the 11th and then London on the 12th.

“These UK shows are our biggest headline shows to date. I think we always feel a little differently about home gigs, because we know our friends and family will be watching, so there’s a little bit more anxiety I guess,” Amy comments. “I remember going to see other bands play at Brixton Electric and being like, ‘wow, this is a sick venue, I’d love to play here’ and now we’ve been able to sell it out for our own show – it’s still kind of mind blowing really. I hope it’s a really good night. We’ve got a bit more production stuff for these shows too, so that should be cool.”

Grab the remaining tickets to Nova Twins’ UK shows here!

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Kate Crudgington
@KCBobCut

Track Of The Day: Kee Avil – ‘HHHH’ (Live)

A cell-tingling, evocative soundscape that caresses the senses, Montréal-based experimental artist and producer Vicky Mettler aka Kee Avil has shared visuals for her single ‘HHHH’.

Taken from her debut album Crease, which she released earlier this year, the live video (captured at Sala Rossa as a co-presentation between Live in Concrete and Suoni TV) shows the artist doing what she does best. Full of breathy vocals, ambiguous lyrics and twitchy electronics, the intensity of Kee Avil’s ‘HHHH’ is heightened by Myriam Bleau’s beautiful visual backdrops and Caro Etchart’s delicately crafted crochet costumes, both of which can be observed in the live recording.

“Playing ‘HHHH’ live is a bit like being submerged by waves, vibrations,” Kee Avil explains. “The swells engulf me and I always struggle a bit to hear myself within that, it makes me feel like I’m being kept from the surface, like I have to carve my way out somehow, and I like that. This video presents for the first time the duo version of the live show, with Samuel Gougoux on drums. We’ve been working on this duo setup since January, pulling it apart and discovering how to play this music live, or at least one way of many. The visuals by Myriam Bleau tie it all in, we were interested in exploring physical textures – like wax, paint, leather – to accentuate and create a small world for each song to exist in.”

Kee Avil is currently performing her captivating live show on tour in Europe, full details of which can be found beneath the video for ‘HHHH’ below.

Kee Avil European 2022 Live Dates
04 Nov 2022 – Bologna, IT @Circolo Dev
05 Nov 2022 – Ljubljana, SI @Galerija SKUC
06 Nov 2022 – Bratislava, SK @T3 – means of culture
07 Nov 2022 – Prague, CZ @Punctum
08 Nov 2022 – Krakow, PL @Klub RE
09 Nov 2022 – Warsaw, PL @Chmury
10 Nov 2022 – Dresden, DE @Scheune Blechschloss
11 Nov 2022 – Bremen, DE @Kultur in Buunker e.V.
13 Nov 2022 – Utrecht, NL @Le Guess Who?
18 Nov 2022 – Porto, PT @Understage

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Kate Crudgington
@KCBobCut

FIVE FAVOURITES: Bonnie Trash

Finding comfort and catharsis in the darker spheres of life, Canadian-Italian twin siblings Emmalia and Sarafina Bortolon-Vettor create music inspired by everything from Italian folklore to the gloom of post-punk. Performing under their moniker Bonnie Trash, the duo have recently released their deliciously droney debut album, Malocchio, which translates as “hex” or “curse”. Inspired by the stories that their grandma Nonna Maria handed down to them as children, their record is a potent and commanding blend of metal, shoegaze and gothic rock, released via aptly named label, Hand Drawn Dracula.

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 Bonnie Trash to ask about their “Five Favourites” – five albums that have inspired their song-writing techniques. Check out Emma & Sara’s choices below and listen to their new album, Malocchio, here.

1. The Smashing Pumpkins – Gish
Sara: When I was a teenager, around 13 or 14 years old, I was emotional as all hell and needed to release my sadness, my anger – it’s like all of a sudden I was finally feeling everything all at once. I was just beginning my journey into 1990s grunge like Soundgarden, Nirvana, and Alanis Morisette. Then I heard, ‘I Am One’ by The Smashing Pumpkins and it blew my mind. It was loud, heavy, and had hints of heavy metal. That drum opening drew me right in and I became an instant fan of Jimmy Chamberlin. At the time, I was solely playing the drums. I didn’t even think about singing until I was around 16. As I listened to Gish on repeat for a few years, it didn’t take long until Billy Corgan’s lyrics and voice seeped into my bloodstream, and inspired me to sing and write. There are truly painful, sad, and quiet moments on this album, and they are almost always followed by dramatically explosive arrangements. I instantly fell in love.

2. The Jesus and Mary Chain – Darklands
Sara: This album is a post-punk gem. It’s gorgeous. Those smooth, noisy, yet soft grooves that make you want to slow-bop along to it all – it’s pure bliss. There’s a sensitive nature to this record, and it bleeds out through the vocals and lyrics, backed up by pop-sensibilities. The drums hit hard and are super robotic, as the guitars float on top. Darklands sparked my love for drum machines and electronic percussion. And the lyrics? They’re macabre, sad, dark, and at times joyous: “And I awake from dreams, to a scary world of screams.” Combining these contrasting lyrical themes are beautifully-haunting. What’s so cool about this record is that it’s got this overall bubblegum pop sound. Darklands continues to inspire my love for electronic drums, writing pop-structured songs, and singing about dark subject-matter in a (sometimes) joyous way.

3. Godspeed You, Black Emperor – Yanqui U.X.O 
Emma: I encountered this album after a hard drive swap with my bandmates/friends about 10 years ago. I religiously listened to my iPod on shuffle to hear how songs were related to each other. ‘Motherfucker = Redeemer’ came on and my world was transformed. It slowly repeated and grew in intensity, yet gave so much sonic space for emptiness to shine. This album forever changed my guitar playing. It made me want to expand on noise and texture while keeping everything I wrote simple enough to be repeated, droned, and transforming. I changed the way I use a slide and it made me pick up a bow. Yanqui U.X.O is the soundtrack of major horror and disaster, telling a story of how deep our formations of capitalist structures eventually funnel into the corporate hands of bomb making and war-feeding. It tells the tale of how the little things really do add up.

4. Nine Inch Nails – And All that Could Have Been
Emma: This is more of a recent discovery and a moment of excitement in re-igniting a creative spark. I’m not normally into listening to live albums but this one is exceptional– the 2000 Fragility 2.0 tour that took the world by storm. In this sonic capture, you can hear every instrument in its live element embodying the heaviness of each song with even more depth; you can feel everything vibrate and sense the sweat. This was the first time in a long time where I picked up my guitar and played to each song, pretending to be part of the band. ‘Wish’ hits me the hardest on this album because you can hear an entire audience singing, “Wish there was something real, wish there was something true / Wish there was something real in this world for you.” And in this time, I cannot help but wonder how many of us are reciting these very same lyrics.

5. Joy Division – Unknown Pleasures 
Emma & Sara: The feeling, “Is that it? Is there more?” is a ghost that haunts humanity. Don’t pretend it isn’t. Even the most joyous person asks this question from time to time. Unknown Pleasures in it’s most turmoiled, poetic existence, illuminates the truths behind our being. It adds some sort of comfort despite the demise and perhaps, in this struggle, we find ourselves again. Let there be disorder, lose control, fuck your day of the lords, and fall into the interzone. This chaos is the beauty of existence and with it comes hope, a monster to have faith in. There is more. You are more. Make your fate. Unknown Pleasures is a classic because it allows you to pick your personal scabs and come out transformed. It has inspired our love for the macabre, sorrowful, and of course, post-punk.

Thanks to Emma & Sarah for sharing their Five Favourites with us!

Watch the video for Bonnie Trash’s single ‘Silence Is A Killer’ below

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Photo Credit: dana Bellamy

INTERVIEW: Brutus

It’s the evening before the release of Unison Life, Brutus’ third album, when I speak to drummer and vocalist Stefanie Mannaerts. She’s relaxing at home, looking forward to sharing the remaining songs that form the Belgian heavy trio’s latest record. “I have the feeling we have the best fan base ever,” she warmly enthuses. “They’re so loyal. When we put out the first single from this record ‘Dust’, the reactions were insane. We’d been away for two years, the world is fucked up – even more fucked up than before – so you think, ‘who will care about these three idiots from Belgium?’ and then we released it and it was insane. We are so fucking lucky.”

Stefanie frequently refers to Brutus as “lucky” throughout our chat, but it’s clear that the band who she playfully describes as “three idiots”’ have created their own success. From their 2017 debut Burst, to 2019’s Nest, up to the current Unison Life, Stefanie and her bandmates Stijn Vanhoegaerden (guitar) and Peter Mulders (bass) have delivered relentless, genre-blending, powerful heavy music that’s impressed the likes of Deftones, Dave Grohl, Simon Neil and many more. They have combined their collective talents to create records that absolutely command, and deserve the attention of their loyal fans.

It’s perhaps unsurprising to know that Stefanie has immense personal discipline when it comes to songwriting. When approaching the music for Unison Life, she set herself the “impossibly high standard” of writing the best songs she’s ever written, a “two-year quest of trying to do better.” This wasn’t a torturous process though. The intensity of her vision allowed Stefanie to truly focus on enjoying creating the record with her bandmates, which is reflected in the sheer force of its sound and her triumphant, self-possessed vocals.

“For me, it was the right mindset to start writing the album,” she elaborates. “As a person, I am very black or white, or I am yes or I am no, so I’m a bit extreme in my thoughts. That’s not always easy, but that’s how I am. We had so much time with this record. We had eighteen months to work on it, normally, we only have a quarter of that time to write. So having that high standard was a necessary thing for me. When I look back, I’m happy that I was so strict with myself.

It was not a short process, but it was not this draining journey. It was very reflective. We went the extra mile, and then the extra extra mile, we questioned every lyric, every riff, every note. We talked about it over and over again. I have the feeling we did everything we could to make the record how it is now. In terms of the band, I felt like we had a year and a half of quality time together as friends too, which is also why I’m very happy with it.”

This quality time was something that sustained Stefanie throughout the COVID-19 pandemic. Whilst the live music scene suffered under the strain of lockdowns and other preventative measures, she felt that she was able to reframe her thinking and make the most of an unprecedented situation.

“As a band, we’re normally in such a rush all the time. We’re always rehearsing, playing the set, going on tour, doing the same thing again and again. For example, with Nest, we only had a few months to write that record. We even had to write while we were on tour, otherwise we wouldn’t finish it in time. So everything was always very rushed with this band.

I’m also a people person. So when COVID came into the world and the world stood still, I realised how much I needed friends and not colleagues. At some point when you play together so much, you kind of forget that you were friends with your bandmates in the first place. Not that we argued of course, but it just feels like you’re on this train and everyone is always trying to catch the train all the time. So for me, I look back at it as a gift, to have had all this time with my friends and my boyfriend, who is a musician too. We have been together for 11 years, but up until the pandemic we had only been on holiday together once, because our touring schedules were always so different. So, instead of mourning all the stuff that we couldn’t do because everything got cancelled, I just grabbed the opportunity with two hands to make the best out of the time while the world was fucked.”

Stefanie is aware that this wasn’t the case for many people during the early days of COVID, which is when she refers back to Brutus’ “luck” again.

“We are very lucky as a band. There are so many good bands that don’t get these chances. We have all of these people who believe in us, from fans, to labels and bookers, so when the pandemic happened I didn’t want to take anything for granted. That’s why I did this 180 in my head, instead of thinking ‘Oh fuck, we’re going to miss this tour, and this support tour,’ I was like, ‘Okay, we have to do everything we can to make this album the best that we can.”

This outlook has translated into Unison Life, a visceral, deeply engaging record exploring growth, resilience, and the inevitability of change. Stefanie’s unique vocals are underscored by her powerhouse percussion, Stijn’s rapturous guitar riffs and Peter’s brutal bass lines. With so many potent songs on the tracklist, it’s hard to pick a favourite, but for Stefanie, ‘What Have We Done’ seems to accurately capture the essence of what went into the creation of Unison Life.

“I don’t know how to explain it without sounding very ‘hippy’,” she laughs, “but when we wrote ‘What Have We Done’, it was the same feeling I had when we wrote ‘Nest’ and ‘War’. It’s a feeling where you’re super proud, but you’re also in shock that this is happening, and then scared that you’re that you’re going to fuck it up. It was something special. It felt like kind of a turning point or a crossroad for the band.”

The accompanying video for ‘What Have We Done’, made up of live footage shot by Jonas Hollevoet, shows Brutus doing what they do best, performing at their favourite festivals, Rock Herk and Lokerse Feesten. “We realised that we always take our music very seriously, but we never really took our videos very seriously,” Stefanie comments. So for Unison Life, the trio took time to work with friends who could help them achieve more ambitious visuals, particularly for singles ‘Liar’ and ‘Victoria’.

“We shot the video for ‘Liar’ in Morocco with a close friend, Maximiliaan Dierickx,” Stefanie explains. “We already had a concept that suited the story, so we talked to Maximiliaan – who is a big deal in the film industry, by the way, it’s insane that he even wanted to do it – and we chose to shoot in Morocco because the setting suited the album’s artwork and the vibe of the album. The song ‘Liar’ is about lying – obviously. I sometimes tell a lie, just so I don’t hurt anyone. I’m very uncomfortable with confrontation. I run away from it, or I overcompensate because the vibe is not nice, so the three masks in the video represent the lies that always catch me out in the end.”

“’Victoria’ is very nostalgic,” she reflects. “It’s about getting older with your friends, and even though everything sometimes sucks, it’s okay, because you’re going down together, so it doesn’t matter. I’m super proud of the videos we made with Jonas and Maximiliaan. For me, a good video has to make the music feel better, and that’s definitely what happened here.”

We move on to chatting about Stefanie’s anticipations for the band’s upcoming UK tour in November. They’re currently preparing for these shows with lots of rehearsals, so they can deliver their “best set” yet. “We have a label in England, we have friends in England, so it’s always super nice to be in the UK, it’s just a different vibe to Belgium,” she explains. Stefanie is also looking forward to something else during her stay. “You guys have the best breakfast culture ever,” she enthuses. “I’m vegan, so for me the UK is like vegan heaven. Food is very important to me!”

It goes without saying that simultaneously drumming and singing for an entire set must be an appetite-building task. When asked about this impressive feat, and whether she finds it cathartic to sing lyrics that could be interpreted as vulnerable against a backdrop of heavy music – for example, “We’ve been down this road before / I’ve never felt so insecure” on ‘Chainlife’ – Stefanie has a pragmatic response.

“I don’t know how my brain works to be honest,” she laughs. “For me, the vocals and the instruments have to be in balance. It’s not that I need a loud part of the music to say what I feel. The older I get, the more I really just have to say what I think. With our first record, the lyrics for the songs were from made up stories, and I had also only been singing for two years at that point. I think the lyrics I write now are so honest because I’ve learned that you cannot mean the music, and then not mean the lyrics when you’re singing. It took me a long time to accept that I was the singer, and to know how I am as a singer, but I see it as one instrument now.

Of course, you have to think about your technique and how you breathe, but it’s getting more normal. When we’re on tour, I cannot drink alcohol, because then I have no voice the day after, and I have to try to sleep in the bus and stuff like that. But I wouldn’t want it any other way. I work the best when I have full focus. It’s always been like this, so I just have to be thoughtful about it. I mean, I don’t get people who play guitar and sing at the same time. It’s super weird for me to see them doing that.”

Stefanie’s unique viewpoint on her capabilities as a musician is something that may have been nurtured from a young age. Her family owns a music store in Belgium, Leo Caerts, which has been trading for an impressive 45 years. Her Grandad, who bought the store, is a musician himself, her aunts and her Mother work there to this day, and she describes her Father, who helped to build the business, as “the greatest guitarist ever.” Clearly, a deep understanding of, and love for music is in Stefanie’s DNA.

“It’s a very unique thing to be in a family business like this, but I don’t know anything else,” she explains. “It’s what I’m used to. I worked in the store for eight years, I’ve studied music my entire life. It’s what I do, it’s the only thing I know.”

To wrap up our chat, I ask Stefanie what music she’s been listening to lately, to which she instantly replies with Burial. “He’s my all time favourite, always, forever and ever. I listen to him all the time,” she comments about the UK-based producer. Burial actually dropped a surprise EP titled Streetlands the following day, thus sharing a release date with Brutus’ Unison Life – a coincidence I’m sure made Stefanie very happy.

Order your copy of Brutus’ lastest album Unison Life here

BRUTUS UK Tour Dates 2022
16th Nov – Bristol, The Fleece
17th Nov – Manchester, Rebellion
18th Nov – Glasgow, Audio
19th Nov – Leeds, Lending Room
21st Nov – Brighton, Patterns
22nd Nov – London, The Garage

A full list of Brutus’ European dates for 2023 can be found here

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Photo Credit: Kemizz

Kate Crudgington
@KCBobCut