Month: July 2021

Categories
Jazz/Blues Pop/Indie Pop Soul/R&B

Kimberly Davis (CHIC): From Brooklyn to the World

Kimberly Davis, the story of a girl from Brooklyn whose journey through music led her to become the lead singer in the most famous disco band there has ever been: CHIC.

With classics such as ‘Le Freak’ and ‘Everybody Dance’ ready to perform to the world, we got a chance to catch up with Kim before she embarks on CHIC’s UK tour this August.

As Kim joined the Zoom call from sunny New York, I was instantly greeted by a smile and energy as infectious as CHIC’S ‘Good Times’ groove, behind her, an incredible array of shoes covering her apartment walls.

James: Wow that’s a lot of shoes Kim!

Kim: Haha! Oh yes! It’s something of an obsession!

J: Have you decided which ones you’ll be bringing with you on tour?

K: Oh yes! But you’ll have to wait and see!

J: Thanks for taking the time to talk with us! It seems like not long ago I was a student interviewing Nile Rodgers for our student TV show, so it’s fantastic to meet one of the other immense talents of CHIC.

Where do I start? You’re just about to go on tour, and over the years you’ve played with some absolute legends of music. I’m interested to know where it all began for you.

K: Well, my mother was musical, she was a singer. My father was a musician so there was always music around the house, whether it was auntie playing disco or grandma playing gospel. I would sit in front of the TV and sing the commercials or the theme songs to shows.

J: Do you remember the point in which you decided: “This is what I wanna do with my life,“?

K: I was always in the church choir and even sang at family reunions. My mom took me to see the movie ‘Fame’ about the NY School of Performing Arts. I remember seeing the students dancing on tables and singing in the hallway, and I thought, “There’s no way I’m not going to that school.” I went for four years and that taught me everything I needed to know.

J: For a lot of young people starting out the way you did, the music industry seems massive. Do you feel as if you’ve always had the confidence to tackle that, or was that something you had to learn also?

K: I had a lot of insecurities when I was younger, especially going from junior high to high school. I said to my music teacher when auditioning for high school, “I don’t know if I want to go because I’m not going to stand out anymore. I’m not gonna be the girl that can sing anymore, I’ll just be part of the crowd.”

K: She just said, “Are you insane?! You’re gonna learn from everyone there… the students, the teachers!” And that’s just what I did. Once I got past that fear of I’m not gonna be the stand-out singer, it was all a learning process. You never want to get too cocky. My last words when speaking to singers are always, “Be fierce, but stay humble.”

I wanted to ask Kim a bit about how she managed to raise her son for 17 years, all whilst working a full-time job and singing on the side. Surely there is no better role model for young musicians trying to make it today.

J: Something I think frightens a lot of young musicians today is this feeling that if they don’t ‘make it’ whilst they’re young, they might ‘miss the boat.’ But of course, you went away from the limelight for 17 years to raise your son before landing the lead role in CHIC.

K: I think everyone is always afraid of that, it’s bad that it’s something society has made us think. But I mean, think of all the actors that didn’t make it until they were in their forties. You’re never supposed to stop pursuing your passion. Your passion is what keeps you alive, it’s what keeps you going, so you can never give up and think, “Oh, I’m past my prime.” Says who?!

J: And surely taking a break from your music career must have come with a lot of life lessons, too?

K: Well, I never stopped singing. I had a full-time job but my hours were from 12 pm – 8 am. I would get up, take care of my son, go to work, sing during the daytime and then back to work again. Every day I was still doing something: an open mic night, a wedding… Now that my kids are grown up, I get to travel and do what I wanna do. Even though you may take a break, you never truly stop.

J: During that time, did you ever anticipate that in a few years time you’d be singing all over the world with one of the biggest bands ever?

K: (laughing) Absolutely not. I was a child when [CHIC] dropped most of their music, so I was singing along to all the classics growing up. Ralph, the band’s drummer and a good friend of mine, called me one day and was like, “What are you doing?” I said, “Dude I’m at work, what do you mean what am I doing?” And so he says, “You need to get down here right now, they’re auditioning.”

K: In the same day, I left work to go to the audition, got the gig and came back to my job to quit at lunch!

J: What was it like the first time rehearsing with Nile and the band? Was there a moment when you realised ‘Holy sh*t, I’m the lead singer in CHIC?

K: Well the guys in the band would tell me all the time, “You raised the bar for what we’re doing.” Initially, Nile wanted to stop doing CHIC. He was so depressed and sick about the band that he just wanted to stop doing it. They all just weren’t happy, so they said to Nile, “You don’t give up playing, you just switch up the band.” And so that’s what he did.

K: He switched up the band and now we’re family for real. We laugh together, we cry together, we live with each other more than our own families. So you know, we are family.

J: Do you think you joining the band installed a lot of confidence in Nile then?

K: Oh yeah, totally. He’s excited about getting back out there, and it’s gotta be a good thing because now we’re coming back out and people have been waiting. You know, this kind of music is infectious. Every gig is like a dance party. There are no dull moments, and that’s what we look forward to. I love the fact that kids 5 years old are singing “We Are Family.” That means someone passed down to them the songs just as my parents did to me.

J: What’s been some of the most memorable gigs for you?

K: The most prominent one I would definitely say is Glastonbury. That was awesome. I remember Barry Gibb playing “Staying Alive” and everyone, even the security, broke out into a flash mob. Dubai was amazing and playing the Sydney Opera House was incredible.

K: Just travelling the continents with Nile is crazy. But I’m just helping him live his best life. When I sing “Get Lucky” he gives me this intro about how he almost died from cancer, and now he feels like the luckiest man alive. So I’m just helping him to relay his story and that’s all I need.

J: So I suppose you must feel like you’ve gotten to Nile pretty well?

K: Oh yes, he calls me his little sister. We did a song together and he didn’t hesitate to play on it. I said to him, “I have this song coming out and I feel like I hear you already on it.” I sent him the stems, he did the song and it went to number one. He’s just the best boss really.

J: Is there any advice you’ve always kept or maybe told your son in pursuing his own dreams? Is there anything you would say to your young self as a girl in Brooklyn?

K: It’s basically just: do not give up your passion. That’s just the bottom line. If you give up your passion, you literally die on the inside. If you’re someone that likes drawing and you can’t find a pencil or paper and that stops you, it’s not your real passion. It doesn’t matter how old you are, you should never stop. And again, be humble, that’s how you keep getting your blessings.

J: And in fact you started your own singing academy this year, why was that so important to you?

K: I’ve been trying to do it for so long, people have been asking me to give them lessons ever since I hosted open mic nights. I’ve never had a chance to do it, but this whole pandemic has given me the time to do that. I’m teaching these young people because I love it! Zoom is such a beautiful thing because it means I have students from all over the world.

J: It’s always a tricky decision for a lot of young people pursuing music. Whether or not ‘music school’ is the right thing for them, or whether it actually makes a difference at all.

K: Absolutely, I suppose the difference is that I don’t give out degrees, but I can help people at a more personal level. If there’s a student who has trouble hitting low notes, I can show them exercises that will help them. I can also put a student in front of people with a real status in the music industry or get them to open up for us.

J: That sounds incredible, and we’ll be keeping our ears close to the talent that you work with. Thanks so much for talking with us, and hopefully we’ll catch you when you come to London!

K: Absolutely, thanks hon!

—

If you’re in the UK, be sure to catch CHIC on their UK tour through August and September, and for singers searching for the perfect mentor, check out Kimberly’s Academy here.

Categories
Indie/Indie Rock Punk/Rock

Indie Idols: Crywank

The 1980s were a wild time, to say the least. Teenagers were rebelling – as per usual – and creating their own kind of lifestyle, diverting the general expectations of growing up and maturing that had dominated previous decades. Fashion was outrageous, attitudes were eccentric and controversial, and all of this was reflected in the music. Punk emerged from the underground and, in a symbiotic relationship with the youth, the face of music was forever scarred for the better. Bands like Sex Pistols and the Ramones exploded onto the scene expressing anarchy and distrust in the establishment, loudly displaying their political agenda and providing a voice for like-minded young people. Throughout the decade, punk influenced countless subgenres and subcultures, encouraging political freedom and rebirth of the most riotous kind, while also merging with others to create completely unexpected, but lyrically brilliant, hybrid genres.

This month’s Indie Idol embodies the spirit of punk while exhibiting its versatility within other genres by displaying elements of anti-folk – a musical movement established in the 1980’s to “mock the perceived seriousness” of the decade’s popular music, serving as a protest through clever lyricism. Crywank, a band spontaneously conceived by Jay Clayton in Manchester in 2009 upon receiving their first guitar, expresses a more personal kind of anarchy, announcing displeasure with mundane realism we have all probably felt from time to time, as well as dealing with more serious issues like mental health. I Am Shit from the band’s 2013 Tomorrow is Nearly Yesterday and Everyday is Stupid album, for instance, serves as a criticism of one’s self, overthinking everything you have said or done, and being stuck in a loop of self-doubt and inadequacy. The lyrics are hard-hitting and emotional, with a characteristic DIY-nature that adds to the charm and meaning of the song.

Arguably, Crywank takes a more comedic stance in some of their productions, helping to lighten the typically downbeat mood of their work while fitting to the anti-folk genre, still providing that dramatic social commentary the band and sub-punk genres are known for. Songs like An Academics Lament on Barbie, which comments on the irony surrounding the suggestion that Barbie is a feminist icon for young girls, having had over a hundred different jobs, many in typically male industries, while also being subject to strict and traditional female beauty standards that fail to represent the vast majority of women. Or Tin Foil Hat Crew at the Student House, which discusses constantly being monitored by companies online and other politics while also featuring the highly intellectual lyric, “Slap my thigh call me messy sweaty petty silly sausage,” from the duo’s 2017 Egg on Face. Foot in Mouth. Wriggling Wriggling Wriggling. album, for example. Both of these songs also demonstrate Crywank’s musical diversity by embracing a sound vaguely similar to that of Parklife by Blur, with more melodic speech rather than general singing, while still harking back to their punk-inspired roots – which are especially evident in the final few lyrics of Tin Foil Hat…, “Don’t Be Evil, Ooglie-booglie-googlie-booglie.”

(Check out Story of the Lizard and the Sock for another dark comedy-esque song)

The group’s most recent and final album, Fist Me ‘Til Your Hand Comes out My Mouth, a name that most definitely reflects the outrageous and uncensored nature of the 1980’s punk movement, features an eight-part story about friendship and its effects on the band. And, as the title I Love You but I’ve Chosen Me… suggests, the importance of loving oneself before attempting to love someone else. The album is, overall, fairly different from Crywank’s previous seven albums due to a larger focus on instrumentalism, such as in The Best, poetry, similar to Jamie T’s use of Sir John Betjeman’s The Cockney Amorist poem in his debut single Sheila, and a more upbeat sound – the existentialist lyrics are still going strong, though. 

The band seems to have steered clear of music videos in the traditional sense, preferring to upload live versions or random rehearsal sessions onto their Youtube channel. However, the few music videos that have been created for their most recent album all exude a sense of incomplete chaoticism that perfectly reflects the sentiment of their whole musical catalogue. The videos tend to be stylised in a low budget arts-and-crafts-type manner using watercolour (Egg and Spoon) and torn paper (Ego is a Phoenix) to depict the narrative while making the meanings of the songs feel more tangible to the audience and, once again, hinting at the homemade elements of punk style. Album art for the band is definitely something to behold, ranging from a simple photo of a shelf adorned with wooden cat sculptures to a fluorescent drawing of a two-headed monster with the iconic World War II “Kilroy was Here” doodle looming above. However, I feel as if the variation in album art reflects the large range of topics and emotions discussed and felt through the band’s work and does show progression in the bands freedom of expression over time.

Unfortunately for all who love them, Crywank’s musical career is coming to a voluntary end after their next North American tour, which has been postponed to 2022. However, their music and merchandise will continue to be available on dogknightsproductions.com until it is all sold out. In the meantime, check out Memento Mori and Hikikomori, my two favourites by the band. 

Categories
Indie/Indie Rock Pop/Indie Pop Reviews

notes from the trenches

Brian Destiny live at Oslo Hackney by James George Potter

I don’t like festivals all that much (mud, granola and hallucinogens are a very bad combination in my opinion, especially when you could be going swimming), but I missed them like hell last summer when they were a total impossibility. It’s cheering to have them coming back, albeit in a small capacity. Instead of having a quiet cry whilst reading Glastonbury According to AA Gill, we can experience festivals in person again—at least to a certain extent. 

Anyone who thinks they can socially distance a mosh pit has another thing coming, however, as a socially distanced mosh pit would basically be paying to go for a three-mile run. Imagine what the aliens would think. Humanity must be a sort of never-ending Marx Brothers film to extraterrestrial lifeforms…

But never mind that, onwards to Very Important Music News. The Cambridgeshire-based indie-pop duo Collars debut EP Everything Present 1 dropped on July 16th, and it’s prime summer listening. You can catch the duo live at any number of venues across the country this summer and fall.

Lil Simz’ recent collaboration with SAULT, Nine, is absolutely unmissable. It’s the only album I’ve had on repeat all month. Come for SAULT’S signature smooth melodies and addictive beats, stay for Lil Simz’ witty, introspective raps.

Nathan Saoudi’s band Brian Destiny debuted loads of exciting new material at a socially distanced show last month. Totally Wired’s very own James George Potter went to investigate and was instantly hooked by the Brian Destiny sound, “I Wanna Be Gay,” being the stand-out tune of the evening. 

Trashmouth Records have released a remix of Meatraffle’s The Horseshoe. I could write a lot about it but there’s already an article up on it, so I’ll just say it’s an absolute bop, because it is.

It’s a short column this month, as the heat is affecting my cognitive abilities. Signing off now to submerge my head in ice or to listen to Everything Present 1 again–both are equally effective ways to calm down and cool off. It’s either that or move north, and I just don’t have the patience to deal with snowshoes and the possibility of getting involved in rumbles with polar bears over fish finger sandwiches. It’s just not worth it, and I’m not going vegan again. Much like this column, life is far too short.

Yours in solidarity and Bandcamp Fridays,

Annie x

Header Photo Credit: Brian Destiny live at Oslo Hackney by James George Potter

Categories
Creators Monthly Indie/Indie Rock Punk/Rock Reviews Why We Love

Why We Love: Cabin Boy

I remember my friend John “Guppy” Guptill first mentioning the idea of Cabin Boy to me last July. What immediately stood out to me about the band was that each member was from a different area of the world. He then played me a demo they were working on, and I was even more intrigued.

In recent years, I personally feel that the emo/math rock genre has become somewhat tired. While there are many bands who pull off the style well, there are several more that don’t do anything new with the sound, leading to some aspects of the genre becoming tired tropes. That’s why when there is a band that not only improves upon the sound, but also makes it their own, it immediately stands out. 

A few months after this initial reveal of the band, Cabin Boy began building up hype incredibly quickly, and they hadn’t even released music yet. The buzz was largely due to the kinetic chemistry displayed by the band’s members: the aforementioned Guppy, a bass player from Cape Cod, Massachusetts; Josh Cartwright, the vocalist and guitarist of the band who hails from Liverpool, England; and Dan Goellner, drummer extraordinaire from Berkeley, California. Meeting through an online music community, the three bonded over shared musical tastes and began sending music to one another to build songs individually—a perfect setup during the pandemic.

Recruiting producer Max Mayman, who Guppy has described as “the secret fourth member of the band” and who Dan met at a concert in California, the band debuted their highly anticipated first single, “Falcon Brunch.” Released on February 14th, 2021, the song was a smash hit and received raving reviews from fans; it is truly a gem. Featuring bright, jangly guitars reminiscent of 90’s power pop, the song kicks into gear once Dan’s confident, upbeat drumming and Guppy’s melodic bass lines come into play. Josh’s voice is interesting as well; it sounds effortless and carefree, while also carrying an emotional weight that feels natural. The song bounces along, and even during the instrumental break in the middle, which features some gnarly finger-tapping, it remains unpretentious and fun.

The single proved that Cabin Boy could take their lively personalities and instrumental talents and turn them into something great, despite thousands of miles being between them. They did this so well that a few months later, they signed to notable emo label Flea Collar Tapes on May 16th. Shortly after this big news, they also released a music video for Falcon Brunch. A visually stunning affair, the video utilizes green screens in an incredible way, courtesy of Dan. Each member’s charm and charisma are on full display throughout the video, and it is a joy to watch.

The wave that Cabin Boy were riding grew in June when they released their follow-up single, “Tokin’ Tree,” on the 19th of that month. The song starts with jagged acoustic guitar chords and passionate vocals from Josh. After a little under a minute of this, the electric guitar, bass, and drums burst onto the scene ferociously. The song features a far more distorted, darker sound, but the punk ethos of Falcon Brunch is still there in the undertow. Dan’s drumming is crazy on this track, highlighting how great of a drummer he really is. Overall, the song shows a remarkable maturity in the band’s sound, and it’s only their second song. 

Cabin Boy hit a new high when renowned music critic Anthony Fantano reviewed the song and praised it. This, combined with their record deal, indicates a remarkably bright future for Josh, Guppy, and Dan. Despite the distance between them, they have proven that great bands can conquer all odds to make amazing music. Their unique energy and uplifting personas are sure to continue to win over music fans far and wide, and hopefully someday, we will get to see them come together and perform.

From left: Guppy, Dan, and Josh

Support Cabin Boy on Bandcamp!

Categories
Punk/Rock

Why We Love: COLLARS

For the uninitiated, COLLARS is an exciting new indie duo composed of Dan (vocals) and Kane (guitar and drums) based in rural Cambridgeshire. Their debut EP, Everything Present 1, was released yesterday on Laundry Rooms, a label run by the band.

The EP features six tracks, all of which were written, recorded and produced by the band in their home studio. The record kicks off with ‘Over You,’ (which the band have described as “…a punk-addled indie offering about relationships, denial and reawakening…”) and closes with ‘I Do,’ ( “…a reluctant love song.”)

Showcasing meticulous production, whip-sharp songwriting and slick instrumentation, Everything Present 1 is a debut that delivers the goods whilst promising greater glories to come. It’s no wonder that BBC Introducing in the Channel Islands recently named ‘Hey Lizzie, Lay It On Me,’ as Track of the Week. 

On behalf of Totally Wired, I recently spoke with Dan, the duo’s vocalist and lyricist, chatting about everything from singing your own truth to the glories of Sheffield’s thriving music scene. 

TWM: How did you two meet and decide to strike out into a musical career?

Dan: Kane used to drum in one of my friend’s bands, so we met that way. Then when Kane was trying to do his own project, he was looking for a singer and asked me if I’d ever thought about singing. I’d never sung before and was terrified by the prospect, but also excited. So I gave it a go singing some songs he’d written, but I’m a journalist too, so I wanted to have a stab at writing my own stuff and I quickly realised that singing my own words was much better – felt more truthful – than singing somebody else’s. 

TWM: How would you describe your signature sound?

Dan: That’s a tricky one. I suppose it’s classic indie band with a DIY punk ethos. ‘Punk or death!’ is our band motto.

TWM: Who are your chief musical and artistic inspirations?

Dan: I absolutely adore Arctic Monkeys and Damon Albarn. A lot of my writing is influenced by Damon and Alex Turner. I often think: ‘Would Damon or Alex be happy with this line, or would they keep working on it until they landed on something more clever?’ The answer is more often than not ‘keep trying’! As for Kane, I know he’s heavily influenced by the likes of Jack White, Travis Barker and gritty old blues artists. Kane’s always thinking outside the box and trying to work out how we can make the biggest sound possible with just the two of us. 

TWM: How has your songwriting evolved since you’ve begun working together?

Dan: We tried a stint where Kane would write some music and I’d then write the lyrics and vocal melody to go with it, but it didn’t feel natural. I would often get little melodies in my head, so I started writing the vocal melody and lyrics and then taking it to Kane almost fully formed. He would then write the music to go with it. Suddenly everything seemed to fall into place. Sometimes we sit down and write together and sometimes Kane will have a little riff he’ll bring to me, but more often than not I write the melody and words first and that works for us. 

TWM: What was the process of recording your first EP like? 

Dan: Knackering! At least it is when you have to do everything yourself. Kane did all the instrumentation, producing, mixing, recording, etc… So more knackering for him. I just turned up and sang when he needed me. Although we wrote it all together of course. 

TWM: Which upcoming gigs are you most looking forward to?

Dan: The EP launch! I’m also really excited about playing Sheffield (Tramlines Fringe, 25 July), because I love the Monkeys obvs, but also Pulp and Richard Hawley and Slow Club. It’s got such an incredible music scene. But yeah, our EP launch at the Blue Moon in Cambridge on Saturday 31 July is one we’ve been planning and gearing up to for months now. It’ll be the culmination of so much hard work and we’re so excited. Hopefully – fingers crossed, touch wood, spit on a black cat or whatever else brings you good luck – we’ll be free from social distancing by then and will be able to celebrate properly. It’s free entry too, so everyone should come down. Let’s have a right old party!

Everything Present 1 is available on all digital platforms, and special 10’’ vinyls. You can purchase tickets to see Collars in action live at: https://www.collarstheband.com/live. You can also find them on Instagram @collarstheband

Categories
Punk/Rock

GUESS WHO’S BACK – Amyl and The Sniffers

GUIDED BY ANGELS is the brand new single from the now legendary Melbourne Punk-Your-Pants-Off-Rockers, Amyl and The Sniffers.

The bands new ‘old-school rock’n’roll’ album COMFORT TO ME is out on September 10th. Pre-order and BE READY.

Categories
Indie/Indie Rock Punk/Rock

Trashmouth Records Remix Release: Meatraffle’s ‘The Horseshoe’

Meatraffle shot by Lou Smith (@lousmithphoto)

The latest installment in Trashmouth Record’s 10th anniversary celebratory series of releases is a remix of Meatraffle’s ‘The Horseshoe.’

Trashmouth Records, an independent label run by brothers Liam and Luke May, is South London’s equivalent of Muscle Shoals’ Fame Studios. The Mays recorded, engineered and produced the debut records of incendiary artists such as Madonnatron, Warmduscher and the Fat White Family. In the label’s own words: “Trashmouth produced and released records by bands that no one else would touch with a 10-foot pole and not only lived to tell the tale but proved to have been visionary in their blind faith.”

“Trashmouth Records – 10 Years Still Not Dead” marks the 10th Anniversary of the inception of the Trashmouth Experiment and features remixes of some of the label’s favourite tracks and artists…”

Meatraffle, photographed by Lou Smith (@lousmithphoto)

In the words of Meatraffle ringleader Zsa Zsa Sapien: “Happy anniversary to Trashmouth, the label that gave birth to Fat White Family, Madonnatron, and most importantly, Meatraffle. The magic of Trashmouth is its vision and ideology and that ideas always prevail over ability and craft, that’s why they saw something in us that we didn’t even see!”

“You gotta love Trashmouth…the greatest small label out there, shamefully written out of the South London scene history books by bandwagonist music journos.”

“Trashmouth is run by Liam and Luke (The May Twins) who are free from any nasty sexual diseases, really softly spoken and polite…and will be permanently saluted by us, forever grateful. All hail the cult! Death to false indie!”  

Join the infamous label in celebrating ten years of “Blood, Booze and Tears in Equal Measure…” by purchasing their 10th anniversary record, featuring remixes from their top artists, available on Bandcamp and beyond.

Categories
Rap/Grime Why We Love

Why We Love – Rocks FOE

Wandering the rowdy streets of Bristol I stepped into one of the city’s most loved bars only to witness the performance of the best young lyricist in the scene: Rocks FOE. The UK’s finest fire spitter, the bona fide beat sculptor, was finally up on the stage among a dozen other Bristol youths. I’ve been a big fan of his ever since his first Legion EP back in 2015 and let me tell you – his live performance was better than I could’ve dreamt of. Born and raised in Croydon, Rocks FOE took the scene by storm with his first self-produced rap-grime hybrid EP released on Black Acre Records. Harmonizing cabalistic beats with sinuous references from the occult, drawing on anime characters and US rappers like Pharaohe Monch and GZA, his unique style set him on the ramp to success – hear for yourself.

Rocks remained passive to the outside world and made rare live appearances. Still, UK producers quickly became spellbound by his talent and this landed him a feature on Commodo’s ‘How What Time’ LP in 2016. His next release from 2017, ’Fight The Good? Fight’, dives even deeper into his true being as he explores daily fights and struggles. Throughout the record he raps about money, family and inner turmoil. His sound scopes beyond the turf of Croydon and unmasks his nerve as he flows at warp speed over beats heavier than a black hole.

In 2018 Rocks comes again strong with his Legion Lacuna EP, and if you’re a true grime head you might even recognize a sound or two. Trance-worthy ominous beats that maintain the speed, nerve and sheer lyrical genius that the Croydon rapper already accustomed his listeners to are unveiled throughout the EP. With less than 10k views on YouTube, I can’t help but bow to the genuine underground flavour of his music. “Legion” is my all-time favourite grime track with lyrics that exude vigour, dynamism, and the confidence to rise above the unworthy.

RELX, Rocks’ latest project, is made up of three EPs produced by the man himself, and I promise you once again this will rocks-foe you off your chair. ‘Part I’, compiled and initially released in 2019 for 24 hours only on Bandcamp, is now (luckily) widely available to buy and stream. ‘Part III’ was released in March this year with ‘Part II’ still being kept hidden from the public. RELX shows a fresh approach to his established style as Rocks draws influences from R&B, contemporary American rap and Western-style gunshot sounds to put together another record that will surely strike your chords if you’ve liked his stuff so far. 

Rocks FOE has proven time and again to be one of the most talented rappers of his generation and is truly worthy to be heard by all of you out there who dig UK grime. Head off to his Bandcamp to help support his grassroots music, and let your friends know, too.

Listen Now on Bandcamp

Categories
Pop/Indie Pop

The Wonderful World of Walt Disco

The Glaswegian glam pop outfit Walt Disco have been making waves in the European indie scene since their debut EP Young Hard and Handsome was released in September of 2020. Consisting of six members, James (lead singer); Finlay (guitar and keyboards); Lewis (guitarist); David (synth); Charlie (bass); and Jack (drums) the group’s appearance is reminiscent of David Bowie, Marc Bolan, and mid-1970s Brian Eno with a dash of ABBA thrown in for good measure. 

Yet Walt Disco somehow remain totally unlike any other band that has gone before them. They have a distinctly 21stcentury feel, a fervent embrace of unapologetic self-expression and decadence (the intensity of which stems possibly from the increasingly alarming structural malfunctions seizing up our current way of life on Earth.) The band have quickly forged their own signature sound, inviting listeners into a colorful realm of rock n’ roll that Dork Magazine has dubbed, “Walt Discoworld.”

The group recently released a single entitled Selfish Lover, accompanied by a video featuring the band parading around an abandoned mansion decked out in glam rock deshabille and kabuki theatre-meets-Pierrot makeup. The Selfish Lover release coincided with an announcement that the group had signed to Lucky Number Records and were planning a tour of the U.K. to promote the single.

On behalf of Totally Wired, I recently caught up with lead singer James Potter and guitarist Finlay McCarthy for a chat on myriad topics ranging from writing pop songs on computers to raiding Grayson Perry’s closet, to the tour gigs they’re most looking forward to. 

The interview occurs on Zoom, because, well, of course: it’s 2021. James Potter appears on the screen first, their dark curly mullet pushed back over their ears, and shortly after, guitarist Finlay McCarthy pops up, sporting a Mick Jagger-y shag with the tips dyed blue. “I’m in!’ he crows, after exchanging suitably chummy greetings with bandmate James. (“Thank you, it’s a mess,” he says self-deprecatingly when I compliment his hair.) 

We get down to business, starting with the simple stuff: How did the band members originally meet? “Over the space of a couple of years. Me, Dave and Lewis were in the original line-up and then Finlay joined at the start of 2019, then Jack joined during a long tour in autumn 2019, and then Charlie joined in around December 2019,” James explains.

I ask what the main inspiration for starting a band was. “I suppose, personally, it’s just because it’s like the only thing I’m good at,” Finlay says. “Ever since I started playing guitar when I was like, 13, I was just like, ‘Ok. That’s what I’m gonna do. I’m gonna leave school and find people to play with…And I’m gonna take a part-time job until it works.’ And now it has.”

I inquire after who the primary songwriters in the band are. Do they all contribute equally, or do they have a Lennon/McCartney thing going on where some work on melody and some write lyrics?

 “I don’t think it’s ever been six of us in the same room, but all six of us contribute,” James says.

“We kind of had to look at the way we were creating over lockdown. And we found that a lot of it has come from writing through the computer rather than jamming in a room,” Finlay explains.

“I think often I find lyrics from the feeling an instrumental will give me,” James muses. “So it’ll be quite a lush instrumental often before I start writing lyrics. Sometimes the lyrics’ll come early but more often than not, I have to have a real feeling and emotions already from the music and find something from that. Because a lot of people won’t listen to lyrics. So, you don’t always even need lyrics, but melody is the main thing that moves people in music. And you need the right words to fit a melody.”

Walt Disco behind the scenes of their ‘Selfish Lover’ video, photographed by @m_adeleinegrace

We move on to discussing the band’s latest single, a high-energy pop number called Selfish Lover, written during lockdown: “Yeah, it was like, April last year,” James recalls. “Lewis sent a garage band demo. We really liked the energy of the instrumental. We just wanted to make it a wee bit more circusy and interesting, so we gave it the intro bassline and the sort of slightly swingy feel…”

Despite having good bones, the song took a lot of “chipping away,” at before it reached its final state, Finlay says. James grins and admits, “…the guitar riff, the middle eight and the first chorus one, was a guitar riff we stole from another song that didn’t quite make it…”

“You stole a riff from your own song? Self-piracy?” I laugh. 

“Yeah, we stole a riff from our own song because the rest of the song just wasn’t strong enough, but it had a really good riff. So, we were like, fuck it, we’ll just put it in this song…David Bowie plagiarized his own songs all the time,” James says. I mention how much James’ voice reminds me of Station to Station era David Bowie on certain Walt Disco tunes, and the conversation turns to the band’s musical inspirations and influences. 

“Having six of us, there’s quite a mishmash, but we all share very similar interests, like the Associates,” Finlay says. “We got really into electronic music over lockdown, cos all we were trying to do was write pop songs. And sometimes you just wanted to switch off and listen to a beat or a cool sound. That kind of seeped into the pop songs that we were trying to write.”

James delves deeper into dissecting the band’s writing methodology: “We’d often start with these quite complex, experimental electronic tracks and then complete that as its own little thing, and then send it over to a different computer and then view it differently… and then once the bass and guitar are on, give it a pop structure and pop melody. That’s the most successful writing process we’ve had.”

Walt Disco behind the scenes of the ‘Selfish Lover,’ video. Photographer: @m_adeleinegrace

The conversation veers from songwriting to another crucial part of Walt Disco’s collective artistic practice: getting dressed up. Thinking of the flamboyant mix of costumes in the Selfish Lover video (where the band wore everything from thigh-high black leather boots to baby pink satin corsets, housewifely 1950s half-slips, faux fur wraps and leather harnesses,) I ask if they have a favored designer or stylist.

“For the Selfish Lover video we were working with a stylist called Jack Shanks…he’s great,” James says. “He’s kind of the same build and the same height as all of us and that means he’s got lots of great things in his own wardrobe that fit us, and then we’ll always bring lots of our own wardrobes to the shoots. 

“Once everyone’s dressed, I make sure I have a look at everyone, ‘cause I love styling. It’s quite funny when everyone’s ready, and then I go round and am like: ‘I need to have a line-up,’ and then I’ll be like, ‘You’re not done,” and “you’re not done.’” They laugh. “Sometimes they’ll get a wee bit hurt and I’m like, ‘No, it’s for the video.’ It has to be right.”

“It’s always been something that’s been a big part of the band, even before we worked with stylists. Getting ready in the dressing room was always fun,” Finlay reminisces fondly.

I ask if there are any particular designers or fashion icons whose closets they’d like to raid.

“I think the one for both of us would be Grayson Perry,” James says, and Finlay oohs in agreement. “Definitely one of the biggest fashion icons of this century.”

I ask which artists first sparked their interest in music as kids, and Finlay looks a bit sheepish. “This may sound totally mad, but I didn’t like music when I was little. I just wasn’t interested in it, at all, until I got to high school. But I remember in my music class, we got a temporary music teacher that showed me ‘My Iron Lung,’ by Radiohead, and I was like ‘That’s cool.’ That kind of sent me down the rabbit hole.” 

James hasn’t heard this story before, and seems vaguely disappointed that Finlay’s “musical awakening,” took the form of Radiohead: “…a shame,” they say. Finlay thinks for a moment and adds, “It’s probably subliminal, but my mum was playing a lot of Kate Bush and stuff in the car, when I was little. I didn’t like it then, but I do now.” 

The soundtrack to James’ growing-up years was very different: “There were a lot of very guitar-y CDs in my house. Also, my parents would put on Queen and Scissor Sisters all the time, but I can’t remember if it was my request or not…it would kind of make sense if it was. I remember the CD player and the sound system were a real centerpiece of the living room when I was six or seven.”

I say that with the music industry stopped in its tracks for so many months, returning to the previous cycles of promo, releases and touring must feel almost alien in its strangeness. 

“You get used to your face not being anywhere, and then it’s everywhere!” James agrees, laughing.

Starting in July, Walt Disco are set to embark on a thirteen-date tour staggered over the course of four months. I ask which gigs they’re most excited to play. “I’m excited to go back to Edinburgh. That’s my home,” Finlay says, face lighting up. “And the gig we played there in October 2019 was the biggest gig we’ve ever played. Can’t wait to go back and play an even bigger venue.”

After so many months of forced stagnation, live music is back in action, and so are Walt Disco. 

Tickets for Walt Disco’s 2021 U.K. tour are on sale at: https://www.songkick.com/artists/9265324-walt-disco/calendar