Kathleen Coyle interviews Liela Moss about the band’s latest EP, ‘Serenade’.
‘Serenade’ feels like the natural successor to ‘Follow’, which was more upbeat than previous tracks on ‘KIN’. Heartbreak reverberated throughout the album, but a serenade suggests a celebration of love. Will the next album be more sanguine in tone?
I think most of the lyrics that tumble out of my head, oscillate between an optimistic vision of the triumph of humanity over fear, or the pessimism of losing love and being separate from the whole. So regarding the next record as it emerges, well it will doubtless peer into both of those realms, and come out blinking!
Rosie Davies talks to Scottish Album Of The Year winner Anna Meredith about her latest project.
People are, apparently, surprised to find out that Anna Meredith’s music has been written by a woman. If her music was, God forbid, marketed by Nestlé she’d be a grab bag of Mexican Chilli McCoys or a Yorkie. NOT FOR GIRLS!!!! Lol.
It feels like a betrayal to something or someone to whisper, “Yeah, I can kind of see what they mean.”
Samantha Spaccasi continues to explore artists who shape and push the boundaries of a genre.
The DIY scene holds a special place in my heart. For me, the thriving underground indie scene is a reminder that the legacy of punk’s democratic, egalitarian principles is still alive and can function in a neoliberal, capitalistic society. Even though I’m not in a band, the ethos of DIY encouraged me to start my own blog and be a music critic. While some would argue that the scene is becoming largely homogenous and stylistically rigid, and it’s true that some bands and artists are lured into the trap of making music that sounds exactly like the work of Mac Demarco and other lo-fi artists, there are some who are doing pioneering sound work in the DIY community while also working to radically reshape it. For many people, the DIY community can be a difficult space to navigate. I’ve read many books on the American indie underground, and I believe this phenomenon can be pinpointed to the fact that DIY shows became spaces where toxic masculinity ran unchecked. As Sharon Cheslow brilliantly stated, “Although many of the females have just as much anger, it [isn’t] socially acceptable for us to release. The angry young boy thing [is] very romanticised. Angry young girls [are] a threat.” Historically, DIY spaces haven’t been very welcoming to women, femmes, trans people, or people of colour. And while strides have been made in making the scene more inclusive, as a community, we still have a long way to go towards dismantling oppressive power structures that do exist and are present in our shows, stores, and publications.
Nimmo have rescheduled their UK tour which now means our show at The Dancehall at The Rum Shack will now take place on SUNDAY 20 NOVEMBER. All original tickets remain valid.
Message from Nimmo: “We’ve had to push back our UK tour to November (except London), but trust that all tickets remain valid. The reason for this will become clear soon! Sorry to make you all wait a little longer but we promise to make it worth the wait!”
Samantha Spaccasi brings us the first in a new series exploring artists who shape and push the boundaries of a genre.
I’ve always been a huge fan of electronic music. My father introduced me to artists like Gary Numan, Brian Eno, and Kraftwerk at a young age. But as I grew older and more aware of the unequal power dynamics between cisgender, straight men and non-men, I realised that the genre is heavily dominated by men, and the media is largely to blame for that, as the press tends to ignore the large and multifarious contributions of women electronic musicians. To correct this oppressive pattern, it’s important for those involved in music journalism to bring to light these great artists that have and continue to shape and push the boundaries of the genre. For my introductory post for the feature WHO SHE IS AND WHY YOU SHOULD LISTEN TO HER, I will be discussing Jessy Lanza, one of my favourite up-and-coming electronic musicians.
Musician Law Holt writes about the making of City, her latest release.
We needed music. Fast. Tim London and I had spent the summer of 2015 making an album of crafted, soulful pop called Gone. City began as an experiment, a reaction to what we’d just done. We were challenging ourselves to come up with new and inventive pop music to re-introduce Law back into an already crowded scene. At this point I was living between two capitals (Edinburgh and London). On New Years Day 2016, I got on a train to Waverley from Kings Cross determined to be returning a few days later with something brand new.