Issue Twenty-Five
Pottery Shame Sorry Lynks Afrikka Sports Team Katy J Pearson Military Genius Folly Group U-Bahn Norman The Wants Slow Dance
Tomo Campbell, ‘Likewise, A Pleasure’ Oil on Canvas, 180cm x 150cm
Well, we’ve made it to April which feels like some
Slow Dance are arguably London’s most exciting
achievement. It’s a funny time to speak to bands, and
label, that’s if you want to restrict them to that tag. The
possibly to release a magazine but we’re glad you’re with
collective release, manage and host some of the most
us. As Coronavirus messes with our day to day lives and
interesting artists and sounds around and in the peak of
plans, it also takes grip of the band on the cover, Shame.
self isolation, we caught up with them via Zoom. Katy
The five piece recently returned from recording their
J Pearson joins us during a huge upturn in the weather.
second record in Paris and we gave frontman, Charlie
Looking out on a sunset, KJP talks us through her song
Steen a call before he escaped self isolation at his parents
writing process and learning to open up. Sports Team.
place for the fields of Glastonbury where he subsequently
Another album falling victim to the virus. As the band
live streamed himself playing on the skeleton of the
prepared to release their debut album via major label,
Pyramid Stage. Montreal’s Pottery are in the same boat.
Island Records, we gave frontman Alex Rice a call
As they braced themselves to unleash their debut album
where he questions the need for absolutist views and
‘Welcome to Bobby’s Motel’ via Partisan Records,
more. Making waves in small venues across the country
rescheduling took hold once again. The virus is a running
are Folly Group, Lynks Afrikka and Norman. We get in
theme in this issue but Pottery are taking it well. We dig
touch to talk about going slow, cancelling tours and jazz.
into the album and their worst motel experiences. It’s
Heading overseas we speak to three bands who have just
a mixed time for North London’s Sorry as they pair the
released their debut albums. The Wants from the US,
sorrow of having to cancel their US tour with the elation
Australia’s U-Bahn and Canada’s Military Genius. Rough
of releasing their eagerly awaited debut album. We ask for
Trade Books is the independent publishing arm of the
some further details.
famous record label of the same name. Their latest release looks at legendary venue, The Windmill and we speak to author Will Hodgkinson about the book and how his son
3 Lynks Afrikka Str8 Acting 5 Pottery Take Your Time 10 Sorry 925 13 B.D. Graft So Young: Artist Series 15 Military Genius Deep Web 19 Roof Dog Book Review 23 Slow Dance Records Collage 27 Katy J Pearson Tonight
has illustrated it.
29 Shame Acid Dad 34 Folly Group Butt No Rifle 35 Northern Rising The Golden Lion 37 Sports Team Here’s The Thing 41 The Wants Container 46 Norman Beef Ravioli 48 U-Bahn Right Swipe
S
“It was exciting until coronavirus.” Sorry sound somewhat
So how far did you get into that Stateside tour?
down in the dumps as I get through to them on a call. It’s understandable given that the North Londoners have
Louis: We went to New York and were just about to go
just dropped their brilliant debut album into the current
to LA when we had to fly home. New York was on the
climate, along with being forced off their American tour
edge of being cancelled as well so that was lucky. It was
after only one date. It must be strange building towards
really amazing, given the circumstances, the turnout was
a moment that’s supposed to be filled with joy only for
really good. It was sold out but we thought a lot of people
the world’s mindset to be absorbed by more concerning
wouldn’t come. It was nice to not go over there for no
matters.
reason. We played a great show and people were really responsive. Hopefully we can get back out there.
Nevertheless, this is the reality of the situation and thousands of artists have been thrown into this uncertain
The album has been a long time in the making - how
territory in recent weeks. Like the rest of the world,
did it come together?
musical and beyond, all we can do is accept it. Nothing changes the fact they’ve put together a captivating debut
L: There wasn’t a turning point but we kind of built up
album which is a diverse statement of intent. Another
to it. We’ve spent a lot of the last two years just trying to
positive is that with the support of their listeners and
figure out how we wanted to do it. We wanted to figure
Domino - you get the sense that everything will come
out how we wanted to record it before just jumping into it.
good once this is over with.
That took a bit of time but once we worked that out it all came naturally. Domino were never rushing to get it out, if
Debut album ‘925’ is the sum of years on the road, honed
anyone was rushing to get it out, it was us. Loads of bands
through recording and experimenting. They’ve nurtured
were releasing around us so we felt like we had to do
the sounds you’ll hear over the last few years; there’s
something. I’m glad that we waited a bit though.
glamour, there’s rock and roll, as well as a morbid edge. This is a band who have just showcased a maturity which has lasted beyond the early buzz. With all this in mind we caught up with Louis O’Bryen, before vocalist Asha Lorenz joined the call halfway through.
Sorry Words by Rhys Buchanan, illustration by Maria Contreras Aravana
10
You’ve been attached to a busy scene for quite some
L: I think all that stuff just comes naturally, we don’t
time so I guess that’s natural?
intend to make it dark or light, I feel like when something needs to be picked up it just kind of happens. The song
L: It didn’t affect how much we worked or how much
just goes where it’s meant to go. We try not to think about
music we were making. I think that’s because all the
that too much. The visuals tie-in with that as well. It
bands are so different and we’re different to the other
explores weird characters and taboo things. We wanted the
bands I think. So it didn’t get to us too much. There
visuals to be a bit otherworldly because the album feels
was this underlying thing of perhaps we should do it
like that.
quicker or something. We just listen to Domino as well, So was it a fairly fluid and organic writing process?
because they’ve been doing it for so long. If they weren’t pressuring us to do it then we didn’t feel that pressure either.
A: We just write quite a lot at home and we write songs in loads of different ways so it naturally comes out like that.
You’ve been working hard live for some time now - did
Also when we started it was easier to write rocky songs.
that experience help you map out this record?
Now we’ve been playing for ages we’ve been able to branch out a bit with the songs, especially now our friend
L: I guess playing live did, figuring out how we write the
Marco is involved who can provide sampled stuff. We’ve
songs. It was more the recording side of things where we
got to a place where we can play all the parts a bit more.
were figuring out how we wanted to do it. The first couple So what does the album title signify?
of singles were released, although we liked them and they served a purpose, we wanted to take it a bit further than that. We didn’t just want to go into a room, lay the track
A: It’s part of the ‘Rock ‘n’ Roll’ song - it’s a lyric from
down and that was it. We wanted to take it further than
it, it means something has reached pure silver but it’s not
that. The idea behind those mixtapes was to push another
like high-quality silver. It’s just a cool metaphor for doing
side to our music and experiment with recording. For the
our first thing that was kind of proper, but I don’t know,
album we wanted to find a happy medium between those
it’s just lots of things. It’s an abstract title because a lot of
two.
the lyrics are quite abstract so people can take what they want from it.
That makes a lot of sense - I guess it was nice not having to rush into anything?
Lastly - anything specific you wanted to achieve with this debut?
Asha: It has taken some time but I’m glad that we waited because we didn’t feel like we were in the right place
L: We wanted it to be more of a whole thing - we wanted
until we knew how we were going to do it. There are three
it to be an entity and to work well together but still have
tracks on there that we’ve played for a long time with the
fresh ideas there that still explore new stuff. The other
band, then a few off the mixtape and some newer ones, so
stuff we’d done was a collection and with this one we
we wanted to pick songs that were more developed, that
wanted it to work properly as one thing and for people to
would help the album fit together a bit, but also varied a
perceive it as they want.
bit so they weren’t all just one sound or genre. There’s a clear sense of darkness and grit to the sound which has become part of your identity...
11
Sorry
www.bdgraft.com
How do you want people to feel when they see your work? Uplifted, hopeful, inspired. It’s also nice if my art makes people smile or laugh. Whose work do you admire and why? Too many to mention all of them, but I love mid-twentieth century abstract artists like Willem de Kooning and In the third instalment of our Artist Series we’ve
Helen Frankenthaler for their unrestrained expression
collaborated with Amsterdam-based artist, B.D. Graft.
and beautiful use of colour and composition. And David
One of our favourite artists discovered through Instagram.
Shrigley’s art for how simple and witty it is.
We’ve been sharing his work for a few years now and it seemed about time we collaborated. Using two pieces of
Does music influence your work at all?
his work we’ve put together a two-sided t-shirt depicting plants in his two most distinctive work styles; oil pastel
Definitely. I always listen to music whilst making art, and
drawing and painting yellow onto found imagery. We
I’m sure it seeps into what I’m creating. I also reference
caught up with B.D. Graft about his work and the
music a lot in my art. For example, my current exhibition
collaborative t-shirt.
in New York is called “Planted Thoughts”, which is named after Arthur Russell’s song “Planted a Thought”.
How did you get into making Art? Who’s your favourite new band? As a child I drew a lot, but as a teenager I stopped because skateboarding, music and writing became my creative
Lately I’ve been enjoying (Sandy) Alex G, IDLES, Dilly
outlets. It wasn’t until I was studying film and literature at
Dally, Shy Boys, Crumb, King Krule, and Chromatics.
university that I rediscovered my love for making art. My friend Geoff J. Kim had started making beautiful collages
Tell us a little about the t-shirt pieces...
and inspired me to give it a try. I did and became hooked. This eventually led to what I’m doing now.
The front image is from my “is it mine if I add some yellow?” project, which I use to explore questions of art
How do you go about starting a piece of work?
and ownership. The back image is an oil pastel drawing of a bouquet, in a style that I recently discovered and really
Usually I have an idea in my head and just go about
enjoy utilising. Both artworks feature plants because,
translating it straight onto paper or canvas. Sometimes I
well, I love plants. The older I get and the longer I’ve
use my iPad Pro to make a quick sketch beforehand, but I
been living in big, hectic cities, the stronger I feel the pull
generally like to just make a start and see where it goes.
towards nature. I see myself living on a farm in the middle of nowhere in a few years, haha.
Tell us about a typical working day... What can we expect to see from you in the near future? I usually start the day answering emails at home with a cup of coffee, then I take my dog Homer to the studio
I’ve started trying my hand at three-dimensional works
where we spend the rest of the day. If I need inspiration
(sculptures and ceramics), which I’ll be sharing with the
I’ll cycle to a museum or take Homer for a long walk. My
world soon. I also have a few cool collaborations coming
girlfriend has a 9 to 5 so I try to stick to the same rhythm,
up. Apart from that I just want to improve my craft and
so we can spend the evenings together.
have fun doing so.
13
everpress.com/so-young-magazine
The Windmill in Brixton has been the vital breeding
Every year we go to SXSW with a new panel and
ground for a large amount of the bands we’ve featured in
showcase, and for SXSW 2020 I suggested we do one on
So Young over the last few years and so we owe a massive
the Windmill. I found it fascinating that this run down flat
debt to the place and the people behind the scenes.
roofed council estate pub, a former Irish boozer with a famously scary dog on its roof, should have become such
Will Hodgkinson has now cemented the Windmill’s
an important centre for underground music.
cultural importance in a new book published by Rough Trade Books and beautifully illustrated by his son, Otto.
In order to do a panel at SXSW you have to collect a certain number of votes, so I put out a tweet asking people
At its heart this book is about the way the small, dingy
to vote for our SXSW Windmill panel. Nina Hervé of
venues that we discover in our youth take on a spiritual
Rough Trade saw it and thought it would make a good
significance that sticks with us for the rest of our lives.
book. So the idea came from her, not me!
The relationship between Will and his son is very important too, not only visually with Otto illustrating
How did this book come about in the form and size it
the book, but both finding themselves frequenting the
has been released in?
Windmill, arriving together but parting ways upon entering. Otto with his friends and Will with the old guard
Initially it was going to be a Rough Trade pamphlet, but
such as landlord Seamus McCausland, booker Tim Perry
after a while I realised that it was going to be more of a
and regular, James Endeacott.
short book - about 20,000 words. That felt like the amount needed: I couldn’t see myself writing a full length book
We caught up with Will to learn more about his book,
on the Windmill, but at the same time there was too much
‘Roof Dog: A Short History of the Windmill’.
to say, too much history, to just do an essay. When we decided on having the illustrations, the emphasis was
Having first visited in 2010, what led you back to write
making a unique object as much as a book, hence the
about The Windmill?
embossed cover and the perforated flap that turns into a bookmark, containing a timeline of significant Windmill
I work with a guy called Crispin Parry, who runs a
events. That was Nina’s idea.
company called British Underground: they take significant movements in British music and export them to the rest of the world via Arts Council-funded showcases.
19
Words by Josh Whettingsteel, illustrations by Otto Hodgkinson
Did the idea for it to be fully illustrated (as opposed to
For a start it is off the beaten track, so property developers
being accompanied by photos) come after writing it or
aren’t sniffing around. For another they keep the costs
before?
down, as anyone who has seen the state of the exterior will confirm. But I think it has survived because it is versatile.
That came at the beginning. I’m a middle aged guy and
Seamus, the landlord, set it up as a place for traditional
although I do go to the Windmill, it’s not like I can
Irish music, but when he saw the Irish community leaving
hang out there every night. My son Otto, however, was
the area and the place dying he had to think again. Tim
18 and he was very much part of a scene there: a lot of
Perry, the Windmill’s booker, is a former music journalist
his friends’ bands, like Roscoe Roscoe, Denh Izen and
who came on board in the early 2000s and he’s very good
Stepbrother, have all played and for him it has become
at spotting talent — not bands that will necessarily draw
something of a second home, a place of late teenaged
a crowd but ones that have something about them. Hence
freedom and discovery. He had just left school and was
Shame, the Fat White Family, Mika Levi, Goat Girl,
starting a foundation degree at Camberwell College of
Black Midi all having early gigs at the Windmill, and then
Art, so I asked Otto if he would provide the illustrations.
wanting to support it when they are big.
I requested that he draw a picture of the late Ben the Roof on the cover, and pictures of Damo Suzuki, former lead
Now small venues are facing the biggest crisis in a
singer of Can, the four members of black midi, and The
generation. At the time of writing we’re in near total
Rebel, aka Ben Wallers of Windmill legends the Country
lockdown and somewhere like the Windmill will likely
Teasers inside, because they were all acts we had seen
be empty for at least two months. It is better that the
together there. I had to hide in the corner while Otto hung
government have enforced rather than suggested a ban
out with his mates, mind you. The rest of the illustrations,
on pubs and venues because with any luck they can now
I left up to him.
collect some kind of insurance compensation, but it is going to be tough. We’ll really know what we’re missing
In the current state of affairs, venue closures are going
if the Windmill is forced to close down, but I think it will
to be an even bigger issue, but I feel like if any venue
survive. Seamus, Tim and the gang are pretty tough in
can survive this it’s the Windmill. What is it about the
their own way.
Windmill that’s meant it has already survived so long?
21
www.roughtradebooks.com
Can you remember the moment you realised something special was happening at the Windmill in relation to the new crop of bands and artists that have frequented it in the last 5 or so years? I’m not sure I can pinpoint a moment, but I do remember going to see Damo Suzuki there a few years back and thinking something was going on. There were plenty of old geezers in the audience who grew up loving Can and so on, but there were loads of interesting looking people in their late teens and early 20s; the type of people who clearly bothered to seek things out. It was the return of the underground. And I thought: these cats have always been out there, people who want to delve into other worlds, who are curious and creative and want something more from life than just what is placed in front of them. Probably the real catalyst for the Windmill in the past decade has been the Fat White Family. They inspired a whole generation of South London bands to get up and do something and the Windmill was the place where you could do it. In their wake you can trace Shame, Goat Girl, Warmduscher and so on, and then an even younger generation of kids came along who can really play: black midi, Black Country, New Road, PVA. It is generally termed post punk, but that no longer fits. black midi are essentially a prog/free jazz band. PVA are indie dance. The Windmill is genre-fluid and long may it continue. Roof Dog: A Short History of the Windmill by Will Hodgkinson is available to buy now from www.roughtradebooks.com
Artists
Josh Whettingsteel Tomo Campbell Katie Benn
Editors Sam Ford
Josh Whettingsteel
Writers Al Mills
Harley Cassidy
Rhys Buchanan
Josh Whettingsteel Dan Pare
Eleanor Philpot Ross Jones Sam Ford
Cameron JL West
Printed By Ex Why Zed
info@soyoungmagazine.com
Website
www.soyoungmagazine.com
News
@soyoungmagazine (Twitter)
SoYoungMagazine (Facebook) soyoungmagazine (Instagram)
Maria Contreras Aravana B.D. Graft
Michael Taylor
Otto Hodgkinson Marco Pini
Philip Lindeman Ramon Keimig
Laylah Amarchih REN
Cameron JL West Ian Moore
Cover Photos Tom Van Huisstede
Photos for Collage Brooke Rutner
Holly Whitaker
Callum O’Driscoll
Tom Van Huisstede
Art Direction
www.joshwhettingsteel.com
Special Thanks Jamie Ford Ross Jones
Cameron JL West Kai Fennell