Kaya Strehler
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SWIM DEEP
foxes magazine

Q: What do you get when you mix Disco Gypsy, The Hard one, SS Outcast, Weekend Offender, and a Colourful Parachute?
A: The fellas of Swim Deep.

When asked about their take on fashion and its influence on their identity as a band, all five members were animent that each had their own specific identity, ''I like the idea that we all look like we could work somewhere''.
The collection of descriptive personas above are the self coined names of said specific identities. James is the Disco Gypsy championing flowing button ups and tight flared pants. Tom aka Higgie is The Hard One courtesy of the school yard scowl despite being describing as 'the softest'. Zack's attire is apparently war centric with a dash of Hitler and topped with Hugo Boss. Ozzy claims his tight female shirts create a Weekend Offender 5 Day Bender aesthetic. And finally, Cav's persona is torn between a colourful parachute because of his overly large cotton underpants, or, according to his band mates, a parrot thanks to his facial features. Pants trumped foul so he was dubbed a Colouful Parachute.

I met the boys in the rambunctious mess that is the Nomadic Community Gardens in central Shoreditch. Canadian Photographer, Jenn Five, was finishing up but not yet complete so I loitered around and practiced some small talk. Between talking about Louis Theroux and the friendly sausage dog named Alan who decided to hang with us, Jenn picked them off one by one for some final shots and whether it was due to unwillingness to part with Alan, the energy draining heat, or just a simple disinterest in this side of making music that sells, interest in being in front of the camera disintegrated quickly and was replaced by thirst.

An hour and one off license stop later we were all sitting in the shade ready to get a discussion going.

Ozzy: What are these questions going to be?

Kaya: Um

Ozzy: Well I'll find out in a minute.

Kaya: So how was the shoot?

Ozzy: Yea it was fun
James: Nice little day out
Ozzy: With the boys together

Kaya: So who lives here now?

Zach: Me and Ozzy
Ozzy: Me and Zack

Kaya: Together?

Ozzy: Yea, we live in Seven Sisters in a warehouse up there with two others mates of ours. It's really nice being up there cause it's like a warehouse community and everyone's doing something, everyone's like arty.

Kaya: Just vibing off each other

Ozzy: Yea I dunno. We kind of keep ourselves to ourselves. I don't think anyone likes us.

Kaya: Why?

Ozzy: I dunno, cause everyone just throws these massive crusty parties but we don't ever open our door.
James: You throw parties as well though.
Ozzy: Yea, we throw parties as well, but we don't have open parties. It's nice to be able to have a studio there and make noise and shit and do what we want. You don't get that a lot. It's like a dying thing around London. All the warehouses getting pushed out I guess.

Kaya: Well that's gentrification.

Ozzy: Yea, I mean that will happen to ours and in a way its our fault because we're making the area, or the landlords think we're making the area more attractive or more cool.
Cav burps as trying to say something
Cav: I was gonna say a Bob Dylan quote but.....
James: What one was it?
Cav: 'Times, they are a changing'.
James: It's because he just turned in his grave and made you burp.

Having recently split with their label Chess Club, a subsidiary of RCA Records and Sony, the guys express interest in working with an independent label for the impending third album. As a band that only formed in 2010, despite multiple line up changes, the ride to popularity seems to have been relatively smooth. Having signed to a major label for a debut album with absolute creative freedom is an uncommon luxury for young upcoming bands. After Where the Heaven Are We came their sophomore album, Mothers, in 2014. It was noted for a strong change in musical direction with having traded in indie pop for psychedelic pop, and when questioned if listeners can expect another change in sound, Ozzy explains.

Kaya: So that change in direction, is that to be expected again?

Ozzy: No I think we did that now.
Zach: We've made our Pet Sounds.
Ozzy: We needed to do that change otherwise we wouldn't have carried on being the band that we wanted to be. It just seemed like everyone was doing the same, following the same path ,but we didn't have that in us to be honest. I think now that we've done that, we've done that explorative.

Kaya: And you've found your sound?

Higgy: We found A sound.
James: A lot of the new music has just taken from a wider spectrum of both of these albums, rather than being the first one and then there was the second one, now it's like mushing.
Ozzy: I think we're in the same position as we were on the first album where its like we're all quite skint and we're not happily in love and shit, ya know? And we're just a bit this and that, we're dreaming, we're hoping more for bigger things. I think the second album was quite a luxurious album. We were very content in our lives and it's a heavily influenced album as well. I think this one's again going to take influence from within the band rather than from our surroundings and we do feel a lot more free on this album.

Kaya: But you already mentioned you had freedom with the other albums?

Ozzy: Complete freedom.
Zach: Whatever we want.
Cav: Off you go. Go do your thing
James: But that's the same thing that we're at now except we don't have to show it to the same person, we can just show whoever we want. So in that way theres a greater sense of freedom for us because since the last record we've got our hands on loads of equipment that we wanted to use and now we've just sort of got it. We've got all the tools to do whatever we want. We're just incredibly poor.

Kaya: So no more major label cash?

Ozzy: No, I think we want an indie this time. I mean major labels are great, I thank Chess Club and Sony for everything they did, I think for us now though we can do what we want and we don't really need a big offer from a major label anymore. Its all changing now. The golden era of music will not come from the big factory, the thing that's churning out stuff for the charts and stuff. It will come from the indies again, and hopefully this time the majors wont fucking buy all the indies and make it shit again.

Kaya: Monopolise the industry?

Ozzy: Like the 90s. I think everything just comes back around doesn't it. Yea its an exciting time for us right now. I feel like the worlds out oyster. As cliche as that is but....

Kaya: We're full of the quotes and cliches

Ozzy: Yea it's the only thing we've got.

Their music style isn't the only thing that has been in a constant state of flux. What began first as a homage to the 90s, complete with Kurt Cobain bleached out regrowth and an abundance of plaid, their aesthetic, like all twenty- something year olds, has matured with them. Despite their previous omission to outlandish fashion identities, the all over look appears to be more refined and muted. That's not saying the zany patterns and debatable colour palettes are forgotten, far from it, but seeing as Zack walked for in Saint Laurent Paris AW13, Cav posed in a recent Burberry campaign, and let's not forget the endearingly awkward video collaboration with Paul Smith, maybe the high fashion brands have left a more mature taste?

Kaya: I know today you were all wearing your own clothes. Is this normal or do you often work with stylists?

Ozzy: There normally is a stylist but...
Zach: We always bring our own stuff. Just incase.
Ozzy: We never ask for a stylist.
James: We hate it, but everyone's too nice to say no.
Higgie: I always end up in weird things.
Ozzy: It does come with the territory though. I feel like when you're in a band I feel like everyone's trying to...there's so many people trying to look like...
Zach: They just pie you off with this shit.

Kaya: To look a certain way?

Ozzy: It's just the way bands are at the moment. Every band that it successful is wearing black jeans and black leather jacket, and so people are looking that thinking 'right YSL, lets get all up in that'. We quite rate YSL though by the way.
James: I feel like we're quite lucky.
Zach: Well, we already look cool.
James: Yea. And i think that maybe the fact no wait that sounds lame.

Kaya: What sounds lame?

James: Maybe the fact that we do have a style, maybe thats why stylists want to work with it. It just makes it worse and makes everyone feel awkward.
Ozzy: We're the most fucking awkward band in the world to work with i think.

Kaya: Why?

Ozzy: I dunno man, people just always find us awkward. I don't know what it is.

Kaya: But then what?

Zach: Every time you get a stylist in.
James: Sometimes if you have like a shoot and they bring loads of clothes and we want you to wear all of these clothes and we'll be like 'whhhhy?' Why don't you take photos of US? Ozzy: Why take photos of us as puppets.
Higgy: Yea, we're not clothes horse.
Zach: Yea, just get a coat hanger.
Ozzy: Yea, man we're real people
Higgy: Innit.
Ozzy: Making real music. For real people.

Kaya: Don't you ever like the idea of dressing up?

Ozzy: We do dress up! Like when we come out we dress up ourselves. But I don't want to dress up in some bogus clothes. If I'm going to wear it for that one photo then I feel like a fraud.

The heat began to get the better of us as we moved onto the politics behind keeping clothes after photoshoots, then onto politics itself. The entire conversation was riddled with sarcasm, friendly banter, and jokes at each others expense, all expected amongst a group of mates, which is essentially what Swim Deep is; a group of mates who make appealing music for the masses. There was a nice sense of proud camaraderie amongst them when one tried to downplay their own achievements, almost boastful for each other, for example when discussing their schooling (or lack there of), Ozzy in effect had to drag out from James that not only was he the only one who attended University, but claimed firsts in his classes. Proud of each other and proud of themselves, so much so that initially an air of smug self importance lingered, but in reality, upon hearing more about what the youngsters have achieved, it leaves me wondering 'Since when is it considered smug to be pleased with your own gratifying hard work?' 

 

 
 
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ARRON CARPENTER
hero magazine

If, as François de La Rochefoucauld once stated, silence is the safest tactic for one who is not sure of himself, this can explain Carpenter’s constant presence in our feeds – he is sure of himself. Sure of where he stands in this digitally dominant society, sure of how to manoeuvre within it, sure of who he holds dearly, sure of his love for his fanbase, and sure of what direction he wants to go in. The one thing that he is somewhat unsure of, is the exact distinction of his music, but rest assure, he has a plan in place.

Louisiana native Aaron Carpenter downloaded Instagram in 2011 at the insistence of his older sister. Twitter and Vine came two years after that. And now, the 18-year- old, who an bring an entire tweeny generation of girls down on their knobbly knees, is utilising his cyber fame as a platform to launch his music career.

Kaya: So you’re sashaying into the music industry at the moment, right?

Aaron: Yeah, over the past six or seven months I’ve been in the studio at least four times a week, really just practicing and exercising my writing and recording and nailing down my sound because I don’t want to be coming out of the social media space releasing music that sounds amateur. I want it to be something that people can respect.

Kaya: Refining before you release?

Aaron: Exactly. I’m a huge perfectionist.

Kaya: Same. Sometimes I find I just need to step away.

Aaron: That’s something that I’ve had to learn, that imperfection in the music is what makes it more personable. I have to understand that it’s not going to be perfect because nothing is, but it makes the music more me.

Kaya: At least you don’t have to recruit a band. You play a ton of instruments, right?

Aaron: I was in percussion in my high school band whilst I was in middle school but I wanted to be a drummer, not a percussionist, so I dropped out of band and started mowing lawns to save up and buy my first drum set. I started to learn how to play along to bands like 3OH!3, Underoath and NEEDTOBREATHE, because that’s what my sister had me listening to when I was growing up and that’s all I really knew. Also my brother is an amazing keyboardist and he’d teach me how to play. It wasn’t until I moved out here to LA when I started to teach myself guitar, again just from listening to songs. I didn’t have as much self discipline when I was back home, so when I moved out here I had to grow up a lot and be more responsible and sit down and dedicate time out of my day to learn and practice.

Kaya: Have you learnt to read music yet?

Aaron: I tried to read music but it’s a whole other language. For me, playing by ear helps me feel the music more as I really have to pay attention to it. I’m very open to that one day, but right now I like to listen to the music and pick apart each note.

Kaya: The perfectionist strikes back. Which is interesting because I read that your first original song that you released wasn’t what you want to be about at all.

Aaron: Exactly, so I cut that song, it was my first time recording in a studio and it was a project that I did with my friends back home. I knew to myself that I wasn’t 100% happy with it and it wasn’t me, but it was a fun project to do and looking back, I don’t regret it. It shows progress in my recording. It’s something I did when I was sixteen years old, now I’m eighteen and it shows that I’ve grown as an artist and I’m moving into more mature pop, R&B, soul.

Kaya: It makes sense to have your musical tastes change as you grow and develop.

Aaron: The more I experience the more I have to write about and I’m just writing real stuff, real situations I’m going through. I want my music to be something I believe in. When I sing my songs I want to be believing what I’m saying. For the past few months I’ve been taking inspiration from older R&B artists like Bobby Womack, James Brown, Al Green and Marvin Gaye.

Kaya: Is that your folks’ influence on you?

Aaron: My mum would put on Frank Sinatra during Christmas time and family time, she’d always have it playing, or old school radio. So I would hear it but not intentionally listen to it and I wouldn’t appreciate it as much as I
do now.

Kaya: What else do you draw appreciation from?

Aaron: Everyone has their battles, you know? I take inspiration from my friends and family, the things they go through and also my own personal experiences. I also visited my first art gallery the other day. My managers took me to the Marciano Museum and the art there was very inspiring, to see the details and then read the stories behind it.

Kaya: So a successful field-trip?

Aaron: 100%. I’ve already been at home Google-ing more artists and looking into the stories behind their work, that’s what’s inspiring to me. It makes me want to make something that people will look at and might think it’s simple, but then after reading the story behind it and the lyrics, it will make them really appreciate it.

Kaya: Are you much of a reader?

Aaron: I haven’t been, but I’m trying to get into it more. Right now I’m reading The Alchemist and the next book I want to read is The Power of Now.

Kaya: Those are pretty heavy books. You’re starting at the deep end...

Aaron: I’m self diagnosed ADHD and I have a hard time paying attention. Lately it’s been easier because I’m genuinely interested in reading and learning. But my mind is constantly running, it’s never really calm. I’ll have my imagination going when I’m reading and then a different scenario will pop up in my head and then my mind will take me elsewhere and I’ll completely forget about the book and just keep thinking and get really far off track. Then I’ll remember the book, go back to it, but then the next word will trigger another imagination trip.

Kaya: Keep at it though. Reading apparently helps the songwriting process.

Aaron: I can back that up. I really started writing six months ago and I relied a lot on writers and other people, but recently I’ve been able to visualise lyrics better and my vocabulary has grown. I’m learning how to use words in a way that leads to effective songwriting. But everything takes practice.

Kaya: So being a full-time musician is presumably the direction you want to go?

Aaron: Absolutely. It’s definitely what I want to be doing.

Kaya: Is it something that’s always been there? Before the social media fame?

Aaron: It’s something that’s always been there, I just never knew how to go about actually doing it. The idea of having this sort of platform would have been super crazy. It’s definitely made it more possible for me.

Kaya: Social media has given you a platform but it’s also resulting in having about zero percent of a private life. You put it out there, so is it safe to say you’re OK with that?

Aaron: Yeah 100%. Everything I personally put out, I feel like other people are also going through and hopefully my story can help people grow and get through stuff. When I was fifteen my stepbrother, my stepdad and my very close cousin all passed away in the same year and I told my story publicly because I wanted to show people that everything happens for a reason. I do miss them a lot but people shouldn’t dwell on the past and enter that spiral of misery or depression. It’s OK to move on. That was a bad time in my life, but through time I grew to accept and it made me who I am today.

Kaya: Did people reach out to you throughout this?

Aaron: The amount of people who reached out to me was insane. It feels good to know that people can relate or be inspired by my story, also to hear people’s stories helped me. There are times when I get down and when I hear from people it helps me. It’s a support system, you know?

Kaya: Sure. Cyber family.

Aaron: I have amazing friends I’ve met through the internet. I literally met my roommate
and best friend through the internet and the support from him and people via the internet is incredible. I really think that was a big part in helping me get through everything.

Kaya: That’s obviously a huge pro, but what about the hate-filled keyboard warriors?

Aaron: I don’t even give any attention to it because the more attention you give it, the more people will do it. I’ve been a victim of trolling and I let it get to me, it took me just shutting it out and ignoring it to get around that and now I don’t give those people the time of day.

Kaya: I guess the 4.4m followers showing you love quiet down the naysayers. In fact I noticed that a few of your Instagram fan accounts are included in the small 101 accounts you yourself follow in Instagram.

Aaron: I think that interacting with them and acknowledging their hard work is only right, they’re so talented and for it not to be noticed would be very unfair. If I was putting out
music and nobody was discussing it or paying attention to it, it wouldn’t feel good. So I think it’s important to give back because they’re putting a lot of time and effort into it.

Kaya: Nice. Well let’s circle of life this back to music. That 101 followed accounts also includes a few musicians as well.

Aaron: Yeah, they’re people that inspire me and I respect. I used to be really picky about who I followed because I’d be on my feed a lot, but lately I’m not really on my phone that much. I follow musicians and artists as I find out about them, like, I don’t know what took me so long but my manager just put me on to listening to Sampha and he is incredible.

Kaya: Oh mate, you’re late to that party.

Aaron: [laughs] I know.
 
 
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KOCHé
rollacoaster magazine

Having spent her formative years at the likes of Emporio Armani, Sonia Rykiel and Chloe, designer Christelle Kocher recently launched an eponymous label, Koché. You’d better get used to the name and quick, because Christelle is set for fashion industry domination.

To say that designer and Koché creative director Christelle Kocher is an overachiever is an understatement. Not in a negative sense, but an achieving-more-than-is-humanly-possible kind of way. She is also a refreshing, grounded individual in an industry filled with the complete opposite.

Straight out of London’s Central Saint Martins, Kocher embarked on a decade-long run honing her skills in high fashion: intricate embellishing at Emporio Armani, soft feminine lines at Chloe. At Sonia Rykiel, she was invited to collaborate on the brand’s 40th anniversary collection.

Now, Kocher has launched her own label, Koché, which she debuted at Paris Fashion Week in September 2015. Homed in the public halls of Les Halles des Paris, the show – much to the

displeasure of a few industry individuals who maintain an elitist mindset almost on par with Brave New World – was essentially open to anyone strolling through the busy central Parisian hotspot. “The show was totally open, nothing was closed”, she explains. “When I sent the invitations we got some people reacting. Ultimately, some people didn’t turn up.” From casting choices down to the location, every decision made by Kocher had been a conscious one to further promote the philosophy she wants Koché to embody – bringing juxtaposing ideas together.

Haute-couture embroidery on casual wear, expensive fabrics cut to sportswear designs, and masculine trousers teamed with dainty feminine slip dresses are just a few examples of the exclusivity-with-accessibility or “Couture-to-Wear” philosophy

that Kocher preaches.These ideas are pushed further through the casting of her show, a mixture of “everyday” individuals – found either on the streets of Paris or directly from Kocher’s personal life – and a selection of professional models who embody the more exclusive and couture facets of the fashion industry.‘’I’m proposing something with a new model which is something personal, that I believe and I think it will not please everyone - which should not be the goal.’’

Dubbed the “New Kid on The Block” by L’Officiel and one of the “Ten of Tomorrow” on Women’s Wear Daily Kocher knows the importance of keeping a level head. Plus, she’s just landed a position as Creative Director at Maison Lemarié, one of Chanel’s subsidiary brands which aims to preserve and perpetuate the

craftsmanship behind artisan fashion. ‘’I think its great, having some other things happening”, she tells me. “It is also really constructive and you can take away from it.’’

Learning from industry heavyweights Karl Lagerfeld and Martine Sitbon, whom Kocher considers a mentor, has instilled in Kocher a solid work-life balance. Plus, she knows she’d be nowhere without a good team of employees.‘’I feel really lucky and happy”, she says, simply. “[I] feel really pleased with the projects I am making.’’ Indeed in 2016, all is kosher in Kocher- land.

 

 

 
 
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LAZY DAY
heroine magazine

It was on a quite residential street of Camden, in a rather spatially blessed house, that Tilly Scantlebury introduced me to her humongous puppy, Jimmy, as she brews us some tea. We make our way up to her bedroom which she describes as a 'self sustaining Roomiverse'. It acts as a creative petridish where Scantlebury grows voice memos into songs, from elementary ideas into fully formed songs, building the foundations of Lazy Day and its garage grunge with a pop twist sound. Regardless of the introduction of a three piece boy band behind her, Lazy Day is still well and truly a bedroom project at heart, and Tilly explains to me why.

So this is where the magic happens?

Yup. I don't have any fancy equipment. I just use Garage band.

So simple.

Yea, the recording process in here is Photo Booth or my phone. It's more like recording the idea and making sure I don't forget it, rather than making sure that the recording sounds great. The ones online are the recordings did here.

In your room?

Yea. I'm not worried about the professionalism of it, more making sure the parts are there and the vibe is nice.
I guess it doesn't have to be about the polish, more about the feel. Yea, the beginning stages isn't about that. Its about 'Is that song a good song? Do we want to play it?' And if the answer to those questions is yea then....The polish of it will all happen later. It will all be rerecorded in a studio (The Crows' Nest Studio in Netil House), which is what we've been doing this summer.

So you've produced the elementary versions in your room. What about the production of the EP?

I mean if you talk to a proper producer I'm not sure they would call what I was doing 'producing'. My bassist in Lazy Day (Jonny Coddington) did a masters in Record Production and because he's in the band and he knows what I know and what I want, it still allows intimacy.

How'd you guys connect?

So I met Jonny because he's a man about town. He came over and played everything perfect and I was like 'Coooool. Wanna be in my band? Wanna be my friend?' And yea, he wanted to be my friend AND in my band.

Win Win

It was a double whammy situation. Then Beni (Evans), my big brother went to university with his big sister. He was all like tanned and an Adonis and I was like 'who is this drumming man?'

That's what you want in a band....

Eye candy. Arm candy. Stage candy. Il'd never played my songs with anyone other than me and I remember thinking 'This is crazy'. It was a mind fuck, in the best possible way. It was so exciting because I was like 'It works!'

Sometimes things don't exactly translate, huh.

His style is exactly what I had programmed so it was a really natural fit. Drums is my first instrument, so it's really important to me that it sounds the way I want it to sound.

And Liam (Hoflay)?

He was in another band. They had already called it a day. But I did ask the girl who was the leader of the band, 'Liam. Yay or nay?' and she was like 'Yay!'

And you like performing with them?

I love performing but we've been studying. Our focus has always been slightly compromised. Theres no point doing something if you can't do it well.

So when the EP comes out you guys are going to be pushing for more?

When the single comes out in September, because that's like the thing to do.... and I will be applying for my PhD (Art History) at the same time. So hopefully i'll be a rock'n'roll academic.

Ok so you've brought these dudes into the fold but what is the dynamic?

So it's my band. It sounds possessive to say its my band and they're my songs, but the collaboration comes when I show them the song.

And they kinda bring it to life?

Yea, it's like pumping it with something that I couldn't do by myself.

But the writing is solo?

Being in here gives me the confidence to take it out of this room. If it doesn't work in this room it won't work.

What's your bedroom method?

Everything is originally really hastily recorded. I might be cycling, singing something, and be like 'Oh shit!', so I've got to pull over, get my iPhone out, and voice memo that shit.

Like a tech library of ideas.

Yea exactly. My voice memos are like Cool Dreamy Riff, Sad Riff, Funny Lyric, or something like that, just so I know that it's there.

Better than shoulda, coulda, woulda.

Yea I don't want to regret not doing it. Actually with one, I had a dream about writing the song and I woke up and voice memo-ed it, it's on the EP.

So tell me about the two singles coming out?

Disappear, I wrote 5 years ago. It was written when Lazy Day wasn't a 'thing'. That was one of the first songs that I taught them.

And the other?

All The Time, I probably wrote a year and a half ago. They were both done in the same studio, mixed by this guy called Adrian Hall. He's a great guy, his credits are cool.

You're a fan of the super chilled environment, huh?

I suppose that intimacy and feeling initially small and then sounding big is the thing that I feel good about doing. These songs, if you heard the very first version of Disappear, I recorded it on my dads laptop when we were on holiday in America and you can hear the birds chirping and my mum yelling out.

That's a nice element of innocence...

Yea, it's that you don't know what it might be. Not that now that it's been in a studio it's something different, you can hear there are very intimate parts of that song.

What about the name? Lazy Day.

It came about me being able to write these songs on a lazy day. Literally just a pyjama day...in my bedroom.

From a personal place. What's your jam lyric wise? Are they also from a personal space?

I don't write about something I don't know. If you're going to have to perform it, you're going to have to feel comfortable with the truth of it in a very intimate space, like your bedroom.

Do you have someone who you show before you unleash it on your boys?

Except for impromptu noodling in the practice room, I've never played the band something that I haven't shown my friends or family.

Lots of times my mum and dad sit where you're sitting and they listen. So your folks are really supportive?

It's second nature for them to be like that. They come to loads of shows. My grandma comes to quite a lot of shows, she's actually sat at the front in a chair before...

A big supportive family.

Yea I've got a shit load of cousins actually and this house is kinda the hub of it. Both kinds of work happen here. I've got all my academic books and all of my music stuff, its not really like a divide between those two things.

They don't have to be mutually exclusive. On that note, what about collaborations?

It's cool playing with bands you think are cool. Tuff Love are a band that we did a split single with last year. Then my friend Alice is in Big Deal.

Is she someone you give a sneaky peek of your work?

Yea! We've been best friends since we were 15. I just really like working when there are women playing music.

But you've got three guys in your band....

You know, it just happened.

Would you ever consider doing a 'Beyonce' and trading them for an all female band?

...I saw Beyonce last week.

Slay mama!!

There are no words. Things won't be the same again. I cried.

Before we get carried away with Beyonce I'm going to cycle it back to all female bands...

I wouldn't be able to be in a band with anyone that was bigoted, homophobic, racists, sexist, nothing, whether I have an all male band or not.

I guess you can bring it down to feminism being about equality.

Equality is the main goal but you're not going to get there by treating men and women same. I do think women have to be leading things or the gap will never close.

And how is it being a female in the music industry?

I've had really odd experiences. Odd is a really generous way to describe it.

I'm going to presume negative...

Yea and that's a sad thing to know that you know I'm going to say something negative. I had a sound guy nearly make me cry.

Really?

Yea, there is just this assumption that I'm there to sing. Knowing about vocal pedals, guitar pedals, how much reverb or how long it should be, where my monitor should be, where my amp should be, that seems odd to people. It was palpable, that he was like 'I don't care.' Equipment is a masculine domain apparently...

How do you deal with it?

I don't have any duty to make this man a better man, it's not my job to go and educate stupid men about why they're stupid. If I had to do that, my days would be really long.

Fair enough. Then who are some female musicians you admire? *points to wall to a picture of Patti Smith*

Patti Smith and Kate Bush are like the ones for me. That (Patti Smith live) was like when you realise what music meant, she was like a politician but the ideal version of a politician. This is what music can do. 
 
 
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