Five Favourites: The Ophelias

Having just released their new album, Crocus, Ohio band The Ophelias continue to charm our ears with their stirring, shimmering creations. Showcasing a dreamy, folk-strewn allure, each track on the album flows with a beautifully captivating emotion, rippling with a heartfelt ethereal splendour.

We think one of the best ways to get to know a band is by asking what music inspires them. So, to celebrate their new album, we caught up with The Ophelias to ask about their “Five Favourites” – five albums that they love the most. Check out their choices below and scroll down to watch the unique new video for latest single, ‘The Twilight Zone’.

Joanna Newsom – The Milk Eyed Mender 
The first time I heard a Joanna Newsom song, I lay upside down with my head hanging off my bed, put it on repeat, and let my eyes well up and blood rush to my head. It was ‘Peach Plum Pear’ and it was unlike anything I had ever experienced. It was such a clear moment of eye-opening world expansion that I can still feel the vivid, confusing excitement of learning that this music existed. I was sixteen, and immediately bought The Milk Eyed Mender in full. I stalked around my all-girls Catholic high school with Joanna Newsom in my ears and Docs on my feet, staring off into space in the library as she sang about dirigibles and fruit. I make music that sounds nothing like Joanna Newsom, partially because no one else can sound quite like her. But the poetry of her lyricism and fullness of her harp, alone and rich on this record, have absolutely influenced me and my songwriting. The harpsichord and chorus of voices singing “I am blue, I am blue and unwell” have never left my reference palette. The other Joanna Newsom records are fantastic – I especially love Have One On Me, in all its sprawling glory and drama. But The Milk Eyed Mender was the first album to change my life, and has influenced my taste and creative process greatly. 

Alex G – Trick
There’s nothing like a perfectly crafted, catchy song. Alex G has records worth of those, but Trick was my entry point. Freshman year of college is great for becoming friends with people, soaking up their music taste, and never seeing them again once your schedules change and welcome week ends. I’m grateful to the fellow freshman who put on ‘Mary’. The thing about Alex G songs is that they’re not revolutionary – guitar, bass, drums. But they’re so perfectly executed that they feel new. Most of Trick’s songs are short and to the point, so when he chooses to extend an outro or repeat a chorus it feels purposeful. I see that reflected in my songwriting – trying to be purposeful about extending things only if they need to be extended. The Ophelias as a whole have super varied music tastes, since we come from different backgrounds and approaches to music, but have all coalesced around Alex G. He makes songs that are sometimes accessible, sometimes experimental, sometimes vulnerable, sometimes silly. We can all find something we relate to or want to emulate in his work, since it covers so much ground. I graduated a couple years ago now, and Alex G has created songs beyond just guitar-bass-drums, but Trick holds a special place in my heart.

My Bloody Valentine – Loveless 
The first iteration of The Ophelias formed in high school, when Andrea and I were seniors and Mic was a junior. Jo grew up in Madison, WI, and they joined later, so at this point they were pulling pranks and applying to film school. Andrea and Mic played in another band together with friends of mine, which is actually how I met them both. That band was playing at a warehouse show that I booked, and in the middle of their set they burst into a cover of ‘When You Sleep’. I watched Andrea play the iconic melody line through fuzzed out, pedal-laden violin and was completely obsessed. I loved the song already, but hearing it in that new context made me rethink how violin could be intertwined into the songs I was writing. My Bloody Valentine is another band who we sound nothing like, but we all definitely take influence from. The layers of sound, the soft octaved vocals, and the unexpected use of items like vacuum cleaners are all exciting, specific sounds that have affected the creative choices we make. Loveless is a whole world within an album, something that sweeps you up into it. 

that dog. – Totally Crushed Out!
I’m not sure how I found this album – maybe the public library, maybe somewhere on my parents’ shelf – but I’m very happy I did. It appeared in my life one day and became the closest parallel to the music I currently make. ‘She Doesn’t Know How’ is one of my favourite songs of all time, and the way that this record bobs and weaves through more punk-inspired tracks and softer, violin-and-harmony focused songs inspired me to not only expand my songwriting to harder, faster places, but to also feel content and settled in softer songs. The violin acts as a second (or third) guitar in a lot of songs as well, sometimes carrying the melody line or engaging with the vocals. Andrea’s parts are extremely dynamic, and it’s always fun to watch her figure out ways to slide a harmony into a guitar chord or mimic a vocal line with her own twist. I started listening to Totally Crushed Out before I had a band at all, and originally didn’t think to name it as an influence. But as the songs evolved, I realised how much I wanted to emulate that dog., and how I had been moving towards that for a long time. 

Fiona Apple – The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do 
I struggled with which Fiona Apple album to include on this list. It came down to this one or Fetch the Bolt Cutters, which even though it only came out in 2020 left me reeling and full of new ideas for ways to stretch and evolve. But as I was re-listening to both that record and The Idler Wheel, I realised just how much of an impact The Idler Wheel has had on my creative process and decisions. Jo and I were obsessed with the ‘Hot Knife’ music video in college, watching it over and over again to see her avoid eye contact with the camera. Fiona Apple is a master of tension, building it up both in her voice and the piano as they caterwaul and thunder. Her records feel organic, like you can hear moving parts in the rooms where she recorded. Her lyrics are twisty and literate – she fits more into a single stanza than most say in a whole song. I try my hand at that every now and again, seeing what can fit in the container I’ve created for myself. But the other lyrical side that makes Fiona Apple so particularly gut-wrenching is when she forgoes the poetry and says it straight out, like “All that loving must have been lackin’ something / If I got bored trying to figure you out.”

Massive thanks to The Ophelias for sharing their ‘Five Favourites’ with us! Watch the new video for ‘The Twilight Zone’ here:

Crocus, the new album from The Ophelias, is out now via Joyful Noise Recordings. Buy it here.

Photo Credit:  Cam Whaley

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Introducing Interview: th’sheridans

Following a decade on the scene, indie pop duo th’sheridans have recently released an epic, career-spanning compilation – Pieces Of General – combining both old favourites and some newer treats. Showcasing their knack for creating scuzzy hooks, jangly beats and a swirling energy, the album offers reflections on poignant issues whilst oozing an uplifting effervescent euphoria. Whilst harking back to old favourites with a shimmering sense of nostalgia, the duo have managed to evoke a stirring resonance for right now; a sparkling call to arms, oozing a quirky, colourful spirit.

We were lucky enough to chat to the band to find out more… Have a read!

Hi th’sheridans! Are you able to tell us a bit about how you initially started creating music together?
We met at Bongos?! World Music Society in 2010 where we played “international folk” covers that ended up sounding more like a big indie band. The first thing the two of us really played together was an arrangement of the Italian partisan song ‘Bella Ciao’ (which may some day emerge as a b-side). And after trying out a batch of original sheridans songs, everybody agreed to do band.

I love your scuzzy, sparkling sounds but who would you say are your main musical influences?
Thank you so much! We put a lotta thought into the sounds and textures we use, so it’s lovely whenever that resonates with someone. Our songwriting really comes out of the Ramones playbook in that the songs can usually be broken down to a set of chords and a pop/R&B melody. As well as the broader ‘70s New York scene, ‘90s Riot Grrrl is a huge influence – especially Ladies, Women and Girls, Bratmobile’s second record. It’s key in terms of figuring out how to express and own our values in the songs, while keeping the hooks as tasty as possible! Klezmer music, Papa T. (Julia’s dad), and The Velvet Underground’s drone all play a big part in our arrangements, especially with the viola. Lastly (although this could easily spin out into a whole encyclopaedia…), artists like Hundred Waters, Beth Orton and Metric have really helped us hone how we incorporate electronic elements like drum machines and synthesisers.

You’ve just released your new career-spanning compilation album – ‘Pieces Of General’ which is super exciting! Are you able to tell us a bit about this? What made you decide to put together this collection of songs new and old?
This album really came out of conversations we had with Reckless Yes after signing with them in 2020. We were thinking about how we could best introduce ourselves to their audience while also capping off the DIY phase of our work. So Pieces Of General is basically greatest hits for a band that’s had… no hits, with some new tracks mixed in. The key thing for us was to sequence it as a coherent album, which only really became possible through Livio Beroggi’s incredible remastering work. Getting the chance to present these songs in this way has been truly wonderful, and having the label stand by and co-sign our work has meant so much to us personally.

And how have you found recording and promoting an album during these strange times?
Day to day, it’s honestly felt quite abstract, which is tough. But it’s also been a blessing to have this project to work on, especially with such wonderful collaborators. Having the remastered tracks coming in from Livio, or seeing Nestan Mghebrishvili’s artwork and design take shape – those were moments of total joy. Promotion’s been an unusual vibe (when is it not?), and at times it’s felt like folks have had more energy to get down and engage with something – and at times less. And that’s okay, we’re all trying to survive right now. But we’re grateful for where our work’s been given space or shared, and we’re particularly appreciative of Reckless Yes’s efforts to get our stuff further out there.

How have you been connecting with your audience and other musicians during the pandemic?
It’s been v. v. difficult. We’ve definitely missed the energy of a scene, of seeing friends do their thing and being inspired by that. The divisiveness of the UK government’s “it’s all up to you now, so fight amongst yourselves!” policies has been especially painful. We haven’t been rehearsing or taking bookings in the pandemic, because that hasn’t been right for us, and that’s still where we’re at. Bitch Hunt put it so well in a recent interview, where they pointed out that “it’s just less visible when people are not-doing-stuff.” Meanwhile, virtual connection has definitely felt more meaningful, whether that’s social media or ZOOM calls.

And has there been anything/anyone specific that has been inspiring you, or helping to motivate you, over the last couple of years?
Absolutely! In terms of craft or artistic practice, artists working in other media have been an increasingly big deal for us in how we approach our work as a band. Over the last few years, that’s included Frida Kahlo, Jean-Michel Basquiat, Diane Arbus. Exploring how someone develops, refines, unpacks, diverges from, expands on the themes in their work is just endlessly interesting – and where you find connection in that, it’s such a precious, beautiful experience. Same goes for how an artist lives their values – lately that’s been writers like Cecil Castellucci, artists like Bianca Xunise, and the folks over at wildly rad UK record label Amateur Pop Incorporated. And on that level of inner work, cultural workers like adrienne maree brown, Layla F. Saad, and Prentis Hemphill offer invaluable insights and pointed, necessary challenges. All their podcasts come highly recommended by yr local sheridans.

As a band keen to call out sexism and racism, how do you feel the industry is for new artists at the moment? Do you feel much has changed over the last few years?
There’s always values at work in any piece of art, the same way there’s always values at work in any conversation. And because of the overt and more transparent experience of fascism in recent years, we’ve felt the need to be increasingly direct and open about our values, as in songs like ‘I Don’t Wanna Be Dismembered‘. It’s also important to pair that kind of projection with practice and embodiment. And, while we name and explore the things we can speak to, we’re also trying to do the work around the things we don’t directly experience. As far as what we’ve seen lately, it’s a mixed bag(uette). Something we’ve noticed is a kind of values drift, particularly when it comes to specific intersections of marginalised identity (eg. white bands only paying attention to gender as a lens). And it’s hard to know how much it’s just the predictable co-option of whatever’s on-trend, or something else. Dr. Angela Y. Davis reminds us that even if it is just co-option, it means we’re getting somewhere. And at the same time, one of the biggest shifts has been witnessing the start of mainstream conversations that were previously totally off the table, specifically with regards to structural racism. And, as so many of those who have spoken truth to power have always underscored, one of the things that keeps us going is the idea that folks younger than us won’t have to go through the same things we have over the last decade or so.

And, as we’re a new music focused site, are there any other upcoming artists or bands that you’d recommend we check out?
A list! Shilpa Ray (‘70s New York vibes for the modern day, best scream outside of metal), Naz & Ella (grunge + indie + folk), Breakup Haircut (spooky pop-punk), Jemma Freeman and The Cosmic Something (cutting edge post-punk), Whitelands (shoegaze lives!), sweetbellechobaby (radical atmospheric pop), Bitch Hunt (emotionally real indie punk).

(Great choices – all GIHE faves!)

Finally, in addition to the release of your album, what does the rest of 2021 have in store for th’sheridans?
Anxiety and hibernation! We do have our next release already in the can though (a li’l late ‘80s throwback), and we’re currently figuring out which thematic batch of songs to get into next.

Massive thanks to th’sheridans for answering our questions!

Pieces Of General, the new compilation album from th’sheridans, is out now via Reckless Yes. Buy it on bandcamp now.

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WATCH: Grace Petrie – ‘The Last Man On Earth’

Having been a big fan of Grace Petrie and her politically-charged, but beautifully catchy, folk-strewn anthems since first hearing 2018’s Queer As Folk, I was excited to hear that she will be releasing her new album, Connectivity, next month (read all about this and more in our in-depth interview with her). Following the release of her euphoric last single ‘Storm To Weather’, she has now shared ‘The Last Man On Earth’ and its accompanying brand new video.

Showcasing Petrie’s exquisite smooth vocals at their most angelic, ‘The Last Man On Earth‘ fuses together a heartwarming ode to friendship with a moving reflection on the confused headspace that can come from mixed messages and unrequited feelings… Flowing with lilting, folk-strewn melodies – complete with jangling banjo refrains and sweeping strings – it’s a perfect example of the Leicester songwriter’s knack for combining beautifully harmonious sounds with a gritty, stirring lyricism, and often a touch of playful wit. Shimmering with Petrie’s crystalline charm, it poignantly juxtaposes the raw emotion of its heartfelt sentiment with a refreshingly joyous musicality and instantly catchy energy. Of the track, she explains:

“… it’s a country-inspired bop that we couldn’t stop singing during the recording sessions. It’s about the age-old experience of being a butch lesbian in a slightly confusing friendship with a straight woman where you both know the lines are a bit blurred but ultimately it will never come to anything. It seemed like country was the best medium for that message, sort of a slightly satirical take on the classic “sad country music” cliche.”

‘The Last Man On Earth’ is accompanied by a fun-filled video of people young and old line-dancing along to Grace and her band; a perfect reflection of the feeling of solidarity and joy of coming together with like-minded folk that runs throughout the upcoming album. So, fling on those daisy dukes, nab the cowboy hat that’s been hanging in the wardrobe since that fancy dress party in Fresher’s week 2005, and immerse yourself in the uptempo twinkling spirit of this spirited new offering.

Connectivity, the upcoming new album from Grace Petrie, is set for release 4th October. Pre-order here.

Mari Lane
@marimindles

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ALBUM: Moor Mother – ‘Black Encyclopedia Of The Air’

Following 2016’s Fetish Bones, Camae Ayewa – aka Moor Mother – has since been wowing fans with 2017’s The Motionless Present and 2020’s innovative project with Swedish musician Olof Melander, Anthologia, which raised money for disability justice. Now, following much critical acclaim, she is set to release a poignant new album – once again recorded with Melander. In short, Black Encyclopedia of the Air is a remarkably unique and absorbing collection, constituting a scattered and beguiling exploration of idiosyncratic ideas and reflections on modern life.

We open in a free-floating sound realm – ‘Temporal Control of Light Echos’ – which immediately lifts us off the sofa into an antigravity dream where space-time operates in an unfamiliar and unsettling manner. This sensation forcibly synchronises our sense of reality with that of Moor Mother, poet/activist/musician/(fortune teller?)/(sorcerer?) and co-founder of Black Quantum Futurism, a collective invested in rethinking our understanding of and interaction with the past and the future…

As soon as we begin to settle into the opener, we are thrust unceremoniously into the next. This album is full of fast cuts between immediate tunes, most of which nestle under the two-and-a-half minute mark. It feels like more of a collection than an album, with threads picked up and dropped with equal vigour. Rather than being an ‘Encyclopedia’ as the title proclaims, it feels like an open notebook; making synaptic flips between ideas, ranging from oblique sketches (see especially ‘Obsidian’) to striking candour (‘Race Function Limited’, ‘Made a Circle’). Where the latter perhaps were more of a feature on Moor Mother’s vitally charged debut Fetish Bones, it is generally the more mysterious elements that impress on Black Encyclopedia Of The Air.

As a whole, the album is possessed by murk – not in a lazily muddy or ‘moody’ way, but with a dedication to explore the world that darkness speaks of. Synth bursts choked by cut-off fall slow and sinuous like blood in water and swirl alongside breathy vocals and distant cries of jazz elements. Moor Mother proclaims the importance of free jazz to her approach as a writer, an influence that makes itself felt across her instinctive writing and disorientating music. This influence makes itself felt in particular on more rhythmically unconventional tracks like ‘Rogue Waves’ and ‘Iso Fonk’, two of the album’s standouts.

It really comes together on its second side, finding cohesion within its chaos. ‘Tarot’ stands out as the longest and most patient track, justified in its length as it stretches into drones and percussive rings backing what seem like oblique prayers to a strange god. From here, the album coalesces, the final three tracks streamlining into a powerful close, centred around ‘Zami’, which drills into your head and spins it like a fairground ride. 

As a whole, Black Encyclopedia Of The Air feels like its own unique universe of strange sounds and intimations. We are left to chase Moor Mother’s philosophy down sonic abysses and lyrical mazes, and if we could only catch them we might just be rewarded.


Black Encyclopedia Of The Air, the new album from Moor Mother, is set for release on 27th September via ANTI-. Pre-order here.

Lloyd Bolton
@lloyd_bolton

Photo Credit: Bob Sweeney

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