Far From Presents is a London-based art and music collective founded by 20-year-olds Jake Scott and Dan Rowson, pushing the boundaries of what a music promoter can be. Known for putting on nights that combine diverse art mediums to champion the thriving creative scene, it brings a refreshing perspective on music promotion by emphasising community and connection. From hosting gigs to mud fights, there is no limit to what the collective can do. 

Photo by Mabel Mcleod

Formed from the notion of starting a clothing brand, Far From evolved into something encompassing the entire art sphere in 2022 through a desire to make a space in that world. “It kind of took off when we wanted to find a way for the band to headline a gig.. So I thought, “Why not turn it into a club night?” says Scott, who plays guitar in alt-rock band Blue Polar. Along with Rowson, the drummer in alt-garage-rock band Cardboard, the pair have experienced the world of gigging through the lens of performers and noticed a disparity in how the bands get treated. 

“It’s really important to us that we put thought into the lineup of the gigs and promote bands that we really believe in,” explains Rowson, after mentioning his experience of working with promoters that only seem to care about ticket sales. Through curating events that prioritise artistic integrity and genuine passion, the collective has fostered a community based on collaboration in an industry that can seem isolating to young creatives, saying “It doesn’t have to be scary. It can just be a bunch of nice, passionate people hanging out at a cool venue”. 

Far From at The George Tavern. Photo by Jamie King

Exploring different avenues of what a gig can be, Far From merges live music with other art forms, marginally taking inspiration from the Happenings, a movement that began to introduce intersecting performance art and everyday life in non-art contexts during the 1950s and 60s. A particularly unique moment for the collective was hosting a riot-grrl-inspired, amateur-mud-wrestling competition in collaboration with event organiser, Evlyn Bill. “In the best way possible it was like…“What the fuck are we doing?” laughs Scott, who describes the night as one of his highlights. A wrestling match to “rid ourselves of the rage that polite society insists women hide”  as said in a statement by Bill, the event held pairs of bikini-clad girls hauling each other around in the mud inside an inflatable kiddie-pool at London’s The Horse Hospital, soundtracked by a live performance by cold-wave, synth band Domina and an improvised set from Bruno & the Outrageous Methods of Presentation. 

“Each night has such a strong identity”, says Poppy Levy, guitarist and vocalist of pop-rock band Hot Stamp, adding that despite being a grassroots promoter, Far From has been their highest paying gig to date. From previously being poorly paid in their bands, the founders share a conviction in paying artists what they deserve, even if it inhibits profits. “We make promises, and we keep them”, tells Rowson, noting the importance of mutual respect and integrity to being a promoter. 

“It differs from a normal gig because you don’t always know what you’ll get”, offers Roy Lowe, drummer in indie-rock band Tooth. An event at Peckham Audio showcased moving images projected onto the bands performing, in response to a previous night at Avalon Cafe where a mixed-media art show took place in a separate room. “We’re still experimenting with ways to facilitate the marriage of art and music”, conveys Scott, though the spontaneity sets Far From apart from other collectives. Beyond London, Far From has also worked with Surround, a Glasgow-based events organiser run by Jamie King, Callum Harrison and Louis Smeeton. At The Pipe Factory in Glasgow, the night hosted an art exhibition alongside ambient noise artist Sorely Macrae, screamo band My Rushmore, and post-punk band Weatherman. “We’re not genre specific,” he continues, stating that their main focus is promoting innovation.

Far From crowd in Glasgow. Photo by Ryan Westmore

Along with cultivating community through events, Far From launched a magazine showcasing their favourite creatives, coinciding with their official one-year anniversary at The George Tavern. Both expressing an affinity for tangible art forms, the duo feel that a print magazine is vital to the collective as a way of archiving the events. “We’re both big vinyl collectors, so this also feels like a way to truly own the art you love”, says Rowson, noting how the physicality of a magazine enhances more of a connection to it. “It feels like a time capsule for what we’re doing”, adds Scott, “there’s a permanence and legitimacy to it, in contrast to existing on social media where things can get deleted or reposted”. 

Featured in the first issue, Tegan Chinogurei expresses her admiration for the Far From collaborative ethos, commenting “Sharing a space with people who want to create is so special”. In conversation with Scott, the feature explores her practice of investigating memory through being a multi-disciplinary artist, mostly working with video to “find a universe of symbols and codes to understand my work”. The space that Far From creates encourages everyone to get involved, as Rowson points out “you’re not just a musician, but also a social media manager, photographer, journalist etc..” in an industry that expects a lot more from artists than just their practice. Forging a hub of young, enthusiastic creatives, it breeds a place for like-minded people to combine different talents and strengthen relationships. 

Blue Polar released their EP via Far From Records.

The pair give recognition to other collectives such as Big Richard Records and Life is Beautiful with a similar ethos of artistic intent and pioneering experimentation. By setting up their own record label, Far From Records, they’re further shaping the industry with “music that we fuck with and just want to hear out there”. Though they state that they don’t see themselves as a figurehead –  “there’s no hierarchy in what we’re doing”. As the collective grows with more funding, they aim to nurture the scene by supporting the bands they believe in, lending to their motto of “Not Just a Promoter”. 

Far From at Avalon Cafe. Photo by Daniel Rowson.

“Our goal is to make each event more of a spectacle than the last”, tells Rowson, toying with ideas such as a punk bingo night, performance art shows and a DIY skateboard competition, as Scott adds “it’s about accepting that things might go wrong, but it also might make something really interesting”. There’s no one formula to how the collective will pan out, which is what makes it so exciting. “We’re still learning so much, and it’s a constant work in progress” he continues, mentioning that inspiration comes from everywhere, from art history to conversations at parties. 

For the future, the possibilities are endless, with thoughts of one day opening a Far From music venue or running a festival. “Just having a space where no one can tell us no”, says Rowson, where it could be a music venue one week and an art gallery the next. Expanding into a production company or publishing house are other avenues the pair is open to, as long as the intention of collaboration remains constant – “we want it to be something that leaves an impression on people”. Having already accomplished so much, Far From is a prime example of what young people are achieving, and they implore everyone to get involved. 

Stay connected with all things Far From Presents/Records/Magazine here.

This feature was originally published inside Issue Fifty-Three of So Young Magazine. Order your copy here.

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There are of course the obvious examples. Fontaines DC have gone from sweaty rooms in the backs of pubs to selling out Finsbury Park in a matter of years, and their sound has grown increasingly complex as they fly past career milestones with breathtaking ease. The Murder Capital’s ‘Can’t Pretend To Know’ sees an exhilarating return to form from a group whose 2019 album ‘When I Have Fears’ brought an enraptured audience’s attention to the offerings of the country’s alternative scene. Recent discourses of the most exciting emerging acts are dominated by names such as CMAT and NewDad and even this issue features two of the nation’s acts, namely Skinner and Search Results. Despite often being worlds apart in sound, the common homeland of these artists has given rise to the question of who comes next, and suddenly all eyes have fallen on this wildly varied cultural landscape for answers. 

Bubbling away beneath that buzz there is in fact a new generation emerging, one buoyed up by the success of acts before them. But these acts don’t belong to a cohesive scene or genre, their sound is wonderfully eclectic and varied, dipping into a tapestry of inspirations and sounds. Take Dublin’s Croíthe for example, whose debut single ‘The Kiss’ is a deliciously shadowy track, clearly pulling on influences such as Suicide and The Cure, but taking strands of the preexisting to weave them into something new.   

Elsewhere in the same city we find another act who is building considerable buzz but whose material feels worlds apart. It seems impossible to resist the boundless energy of Annie-Dog, as she takes elements of alternative guitar and driving dance beats and combines them in an intoxicating manner. Her sound is constantly shifting, refusing to settle and instead endlessly evolving, as demonstrated in the subversive and brilliant production of her recent track ‘Double Cherry’.

Meanwhile Adore, a trio hailing from Dublin, Galway and Donegal are working hard to perfect their propulsive, garage rock inspired sound. Tracks such as their latest single ‘Can We Talk’ balance heavy chords with playful enthusiasm, resulting in a stunning backdrop upon which narrative lyrics delving into dynamics of manipulation and toxicity can be delivered. 

Much like Adore there is an overt politicism explored within the work of intersectional feminist act M(h)aol, whose narrative centric songwriting is used as a platform to highlight and question the taboo, from period sex to gender roles. Moving away from the spoken-word type lyrical delivery that dominated their earlier material, the band’s sound has become increasingly ethereal in nature, a shift that we are following with eager anticipation.   

Portals of Discovery feature inside Issue Fifty-Three of the print magazine.

This sense of dreamy otherworldliness is mirrored in the music of the recently returned The Fae, who received acclaim for their gothic ‘faerie’ inspired sound with the release of their debut material in 2023, but whose momentum was cut short by the singer’s need for a lifesaving liver transplant. Now fully recovered they have re-emerged with that same magic, and their recent release ‘Like Your Man’ proves they have blossomed out of the experience, fusing fuzzy discordant guitar with siren-call vocals to make a truly intoxicating mix. In contrast, Limerick’s Theatre don’t shy away from belting out their emotions, with soaring vocals paired immaculately with jangly instrumentation to create music that serves as an emotional gut punch.  

On the south of the country, we find the beautiful coastal county of Cork, where the native Cardinals are releasing consistently emotionally vulnerable, sonically complex music. Their achingly tender track ‘If I could Make You Care’ carefully builds to a blistering crescendo while the raucously fun ‘unreal’ fuses playful instrumentation with hard hitting lyrics. Their fellow city-dwellers Pebbledash are an equally promising act, this time a noisy six piece whose live reputation is causing a stir. Echoing the styles of Deathcrash and Mogwai before them, they explore vulnerability and catharsis with masterful ease.

Cork is also home to an act who has accumulated an immense amount of buzz in recent months, Cliffords. Iona Lynch’s divine vocals are the perfect match to this wonderfully balanced pop-indie project – it is fun, lyrically relatable songwriting that is sure to win the hearts of many in the year to come. 

To describe such a variety of acts as belonging to a ‘scene’ feels like a leap. The music is far too eclectic, and despite bouncing off each other’s sound and sometimes landing on the same bill, many of these artists live miles apart and are instead on their own musical path. Perhaps instead then, these artists can be seen as a testament to the vital nature of grassroots scenes, and how they can lead to the blossoming of such an immense variety of acts with plenty left to say.  

Portals of Discovery: Ireland’s Next Generation was originally published inside Issue Fifty-Three of So Young. Order your copy here.

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For some fans, Katy J Pearson’s stirring Halloween release, reworking tracks from the classic Wickerman soundtrack with a selection of the scene’s most fascinating talent, may have been the first indication of a blossoming trad folk love affair among musicians. For the more keen eyed, the mention of Broadside Hacks, who feature on ‘Lullaby’ and Pearson’s particularly evocative rendition of ‘Willow’s Song’ may have led them further down the rabbit hole. 

Broadside Hacks are integral to this tale, a collective whose 2021 compilation ‘Songs Without Authors’ was a revelation in introducing predominantly indie centric audiences to the allure of trad folk. With acts like Oscar Browne, Gently Tender and Pixx contributing, the comp was a fascinating insight into the diversity of folk music, and its surprising parallels with the wider direction of alternative indie. Folk may seem at odds with the music being made by scene leaders such as Sorry, but it was Sorry’s own Campbell Baum who founded Broadside Hacks. 

Since ‘Songs Without Authors’ was released, and Broadside Hacks toured their riveting trad folk sound across the UK, Europe, and even the sun baked streets of Austin for SXSW, a number of its musicians have gone on to become leaders of the next musical generation. Oscar Browne’s intricate multi-instrumental songwriting has allowed his music to cut through the noise and form a cult following. The collective have hosted nights showcasing many of the finest voices rising in alternative right now, from The New Eves to Clara Mann. 

Many of the venues and even musicians that were integral to the post punk ‘revival’ are at the heart of this blossoming folk movement, and in a number of ways it feels like a natural progression. There is a shift away from cynicism and toward hopeful truth. Where post punk seeks to highlight the strange realities of the everyday, there is an intrinsic beauty in folk, a desire for escapism within the details of the mundane, and a confrontation of the most human of vulnerabilities. It is a well-needed antidote to the adversity faced by venues and musicians in their day-to-day survival. 

Though collectives such as Broadside Hacks are overtly folk in nature, the draw of trad folk songwriting has begun to spread across the scene, rooting itself in many of the most interesting rising voices in music right now. Emerging in the same period as Broadside Hacks we find Shovel Dance Collective, a group of nine musicians who have been celebrating the oral tradition alongside diving into its queer, feminist, and class transcendent nature since 2019. A few sonic steps away from these we find My Life Is Big, an art collective that wanders between formats with curious glee, merging music, art and theatricality in a beguiling fashion.

The acts tied to My Life Is Big are inherently folksy in nature, with groups such as Tapir! placing storytelling, folklore and nature derived imagery at the forefront of their identity. Their concept of following the tale of a Pilgrim across a lush yet treacherous landscape echoes the narrative heavy nature of folk, with characters being subject to difficult and complex journeys in order to undergo personal and emotional transformations. Similarly, The Last Whole Earth Catalog’s 2023 release ‘Do You Face The Brutal Reality’ sees the group shift toward incredibly stripped back, lyric centric songwriting. The resultant album is a profoundly moving experience, an utterly personal and vulnerable release that resonates with you long after the last track. 

The emergence of these collectives ties in closely with the disruption caused by COVID and its repercussions across the London musical community. Broadside Hacks’ decision to form initially began as a label, centring on the ‘Songs Without Authors’ compilation, bringing together artists remotely since they could no longer be on lineups together. From this a folk club began, initially a jam session among friends before developing into a series of events. 

The rise of collectives including Broadside Hacks, Shovel Dance Collective and My Life Is Big ties in to a wider shift in the scene, with more artists diving into their folksy sound and experimenting with the tradition. Groups such as Bishopskin, whose mesmerising debut album was released last October, musically worship an England of the past. Frontman Tiger Nicholson has reflected that “English people have always thought of an ancient, better version of England, a more beautiful version than the reality.” The album sees them delve into the alluring ideals of a forgotten England, entranced by luscious countryside, religious imagery and storytelling in a way that mirrors many of the acts involved in the aforementioned collectives, not least Tapir!

The ripples continue to spread, from the intricate, moving live sets of Black Country, New Road’s Tyler Hyde (who performs under the pseudonym Tyler Cryde) to the fantastically delicate songwriting of Clara Mann, whose tales sound like the musical equivalent of tracing the fine details of a spider’s web. The primal, inherently feminine vocals of The New Eves, contrasted with harsh instrumentation creates an eerie yet alluring trad folk sound, something that wouldn’t sound out of place on the soundtrack of a classic folk horror film. 

The Other Folk in print inside Issue Forty-Eight of So Young. Buy a copy here.

The appeal of trad folk is clear, and its roots are beginning to take a hold of many of the finest voices in alternative music, encouraging them to confront human truths and pushing them to make brilliant sonic offerings. What is less clear is its cause. Perhaps it is the desire for community, a deep need to regain the unity that was fragmented by COVID and a celebration of being able to get so many people in a room together, creating again. Alternatively, it could be a wider reflection of artists having the opportunity to explore further inspirations and experiment with their sounds. As Broadside Hacks’ Campell Baum has reflected in a previous interview, “it was because of lockdown we had an opportunity to dive into something brand new, because you suddenly had the time.” 

An enticing and empowering interpretation is that the revival ties into the defiant longevity of the art of the working class, something that resonates with artists as they face increasing economic difficulty in their pursuit of creativity. This sentiment is echoed in the words of Naima Bock, who featured on the Songs Without Authors compilation, describing how “there’s the history of working class people who made the land and communities that we have remnants of today. Singing these folk songs is honouring them and their history, rather than the history of the elite, their money and their wars.”

Whatever the cause, the strange allure of trad folk is beginning to spread, and it only feels inevitable that the wider indie scene will follow. Soon haunting vocals, string instruments and vivid storytelling may become the norm. It is an exhilarating shift that is bound to produce some truly original and brilliant new offerings, and we can’t wait to see where it takes us.

So Young is a new music magazine and the new issue is out now. Buy in print Here. Subscribe Here. Read the digital edition below.

The post The Other Folk – We Are Witnessing an Alternative Folk Revival appeared first on So Young Magazine.

The past year bore witness to a phenomenal wave of female artists rising on the scene. There have always been women in guitar music, but the vast amount of talent and variety emerging in a relatively short period feels like the beginning of a significant movement. It is no coincidence, however, that this shift has also seen acts being subject to more scrutiny and debate than ever. From The Last Dinner Party to Picture Parlour, it feels like every exciting female fronted act of late has had their fair share of criticism, running risk of overshadowing their well-earned acclaim. Even Issue Thirty Six cover stars Wet Leg aren’t safe; despite distancing themselves from industry plant accusations in the form of multiple Brit and Grammy awards, they recently found themselves in the headlines following a petty personal takedown piece written by member Rhian Teasdale’s ex boyfriend. 

The reality is that these stories and debates gain so much traction because they signal a very real shift in the music industry. Increasingly female and non-binary acts are pushing their way into traditionally male dominated spaces, and the subsequent backlash is an insight into the insidious toxicity they have been forced to endure. Guitar music is very much central to this shift, and the debates and conversations caused by the controversy surrounding these acts is integral to exposing and challenging the changes that need to be made within the music industry. The issue is, however, that the conversation runs the risk of eclipsing the incredibly exciting and intriguing array of talent emerging right now. The sheer variety of music being made by female fronted bands is a pivotal moment in alternative music that is being overlooked due to the systematic issues it challenges. From the fantastic and humorous Sailor Honeymoon to the hauntingly ethereal The New Eves, even this issue provides a window into the sheer array and volume of talent emerging right now.  

Femininity, alongside being a force of resistance within alternative, is integral to understanding the movement that these bands belong to. Take one of the acts at the heart of the controversy; last issue’s cover stars The Last Dinner Party, as an example. Having performed in venues such as Brixton’s Windmill, The Finsbury and The George Tavern for over a year prior to the release of their killer debut single ‘Nothing Matters’, they were known as a somewhat open secret among London gig-goers. The immediate buzz and widespread coverage surrounding the track’s release saw the band subject to relentless online scrutiny, with industry plant accusations and critiques being heavily directed towards them. The band reflected in their interview for issue Forty-Four that they “knew 100% it was gonna happen, but it doesn’t make it hurt that much less. Because… you just don’t believe that women can do it, is essentially what they are saying.”

What these critiques often fail to take into account is just how interesting and monumental the music they are making is. The Last Dinner Party take traditionally feminine elements, from ornate clothing to virgin-suicide-inspired visuals and make them central to their identity as a band. The lyrics overtly explore female sexuality in an unruly and wry fashion, using evocative storytelling to communicate the often intangible and complex emotions that come with womanhood. Instead of moulding themselves towards the “acceptable” forms of femininity that women are often made to adhere to in order to succeed in music, they have arrived in the world of rock in an unabashedly and unshakeably female form. 

But The Last Dinner Party are not alone. Take a look at recent rising stars The New Eves, who are reigniting the flame of folk through the use of traditional instrumentation and vocal harmonies. Their debut tracks ‘Mother / Original Sin’ are ethereal, spooky, and deeply affecting, seething with feminine resilience. The New Eves draw upon a long and complex history of women in Folk culture and music, and their performances feel as informed by a long and tempestuous past as a defiant and vehement future. Similarly to The Last Dinner Party, their live shows feel diligently planned, with the band using them as an opportunity to expand upon their elaborate and mysterious world. Taking to the stage in victorian-esque white clothing, often altered to each member’s personal style, they use their instruments in unusual and experimental ways, making each performance a deeply emotional and psychedelic experience. They hold the captivating allure of a band that know something the audience do not, but who are willing to reveal snippets of the truth through stories and riddles. 

Storytelling is integral to this movement of female fronted alternative, with increasingly poetic and abstract imagery used by almost all of the bands discussed. Mary in the Junkyard, for example, intricately trawl through emotion, using vivid descriptions and enticing imagery. They have built up their reputation through a relentless live schedule, performing their tender and cathartic material multiple times per week at some of London’s greatest DIY venues. Their candid and enthusiastic approach to making and performing music, alongside the magnetic relationship seen between the band members, has led to them gaining a cult following despite not having a single release to their name. Balancing classical elements and abstract strings with more recognisably classic indie rock, their music is enthralling and exhilarating. The band even take to the stage adorned in knitwear, handmade by frontwoman Clari in her free time, further establishing the centrality of their friendship and amusement in the group’s identity. 

The enjoyment of making art and the centrality of the relationships of these bands is fundamental in understanding them. In fact, in the face of the backlash and criticism many of them have faced, they have come together in solidarity despite their often vastly different musical styles. Looking at Picture Parlour, for example, who feature elsewhere in this issue and recently had their fair share of controversy regarding their first NME cover. The lack of female representation in the scene was actually what initially drew them together, with guitarist Risi describing meeting frontwoman Parlour as being “so nice to be playing with another woman that really got me.” Being together enabled them to “just be our authentic selves around each other.” 

Online, a community has formed between these acts. When Picture Parlour found themselves subject to heated online debate surrounding their NME cover, The Last Dinner Party jumped to their defence writing that they are “the best band I’ve seen in years and deserve every accolade there is.” Acts such as Heartworms have opened up about the intense personal struggles and sacrifice that come with pursuing success in music, as seen in a recent instagram post in which Jojo Orme aka Heartworms described how a band’s success is often an indication “they worked fucking hard to get to where they are and I mean HARD – blood and battle, they have created this world for themselves to deal with things.” The post is a cry of defiance against narratives that these acts are getting handed opportunities easily, with Orme opening up with her financial struggles and the importance of a “circle of friends I can call family.” The solidarity seen in response to the post, with acts including The Last Dinner Party, Nuha Ruby Ra, and Genn leaving comments of encouragement, shows that beneath the controversy and struggles a network of support has begun to form.  

Meanwhile on twitter Picture Parlour recently shared a humorous moment with rising Brighton stars Lime Garden over having members that look alike. There is a warmth and friendship that is integral to the movement, a solidarity and desire to encourage one another as each act respectively faces the relentless challenges that come with being women in music. For Lime Garden, friendship is central to the band’s identity. The group entered the pandemic as a close-knit group of friends making music together and emerged with a hardcore fanbase. Recent singles such as ‘Nepotism (baby)’ see them translating universal experiences of friendship into critiques of class and social divides. Much like The Last Dinner Party’s ode to teenagerdom in the Virgin Suicide inspired imagery of the ‘Nothing Matters’ music video, or the isolation explored in lyrics such as Mary in the Junkyard’s “I feel like an alien here”, Lime Garden use the track to revisit “the feelings of being a teenager again”, and the relentless desire to fit in. “To be the it girl is to be it” the track confesses, pausing to reflect upon the demands and tribulations endured by girls as they become women. 

The movement isn’t isolated to London, although the close-knit community migrating between a handful of core venues makes it easier to notice there. Take a look at English Teacher, a Leeds based band echoing similar sentiments to that of Lime Garden in tracks such as R&B, singing “despite appearances I haven’t got the voice for R&B” as a call out to the racial and gender stereotypes projected onto frontwoman Lily Fontaine. Meanwhile in Dublin M(h)aol have made gender integral to their identity, with tracks such their latest single ‘Period Sex’ directly confronting taboos in a tongue in cheek but defiant fashion. In fact, the punk rooted rise of female talent emerging right now can be seen across the globe. From the rapid, energetic egg-punk of Snõõper and the grungy lo-fi brilliance of Horsegirl in the US, to the wry, and brilliantly original Sailor Honeymoon in Korea. But there is something special happening in the UK, a movement imbued with solidarity that inverts femininity and uses it as a tool of empowerment. There is an incredibly vast and alluring array of talent emerging, from the dream-pop of acts such as Oslo Twins to the dark, dance inspired indie of Gretel Hänlyn. There are so many acts emerging right now that it is impossible to discuss or credit them all. Crucially, however, despite all the hubbub and clamour in the foreground, there is a wave of female fronted talent on the horizon, and it feels set to impact alternative music in a real and lasting way. 

This article originally featured in the latest print edition of So Young. Order your copy here.

The new issue of So Young is out now. Buy your print copy here or read the digital edition below.

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Crafting commuter friendly Shoegaze for the metropolis outcasts and adolescent-adventurers of New Jersey and beyond, High., originally formed of guitarist / vocalist Christian Castan and bassist / vocalist Bridget Bakie, are cutting diamonds from the grey-scale slabs of suburbia.

“I gain a lot of inspiration from commuting all over New Jersey…” notes Castan. “Riding on the highways ‘cause it literally takes anywhere from forty-five minutes to an hour to get anywhere cool.”

Adamant not to follow in the big-city clichés of many before them, Bakie and Castan, both staple members of the East Coast music scene in their own right, firmly rooted their seeds of inspiration in the grounding nature of their hometown of Boonton, NJ; a decision which inspired the trajectory of their creative outlook during the solitary cliff-hanger of the global pandemic.

Feeling “super fatigued and unmotivated”, the duo sprung straight into action as soon as restrictions were lifted. Debuting in September of 2021 with a live set-up formed of Barkie, Caston, and the addition of a second guitarist and drum-machine, High. wasted no time at all finetuning their (what would come to be) trademark splurge of Shoegaze-come-postcard-punk; a viscerally pictorial showcase of instrumental-indulgence and vocal anarchy, destined to live and breathe beyond the 8000 populated safety-blanket, of Boonton.

Picking up instant acclaim on the infamous DIY circuits of New Jersey, New York, and Philadelphia, the duo soon realised that in order to achieve full mind, body, and soulful sonic-expansion, they may require the support of a few additional players; ditching the drum-machine in favour of their neighbour Jack Miller, with guitarist Danny Zavala joining the group that following spring.

Now with an army of musicians and fans at their beck and call, 2022 saw High. settling down into the rhythms of their own creation; and thus their debut single ‘Dead’, a structural barricade of discordant beauty, was born. A “heavy collaboration between the band and our producer Matthew Molnar”, ‘Dead’, along with its subsequent predecessors ‘Painbox’ and ‘Lifetimes’, was recorded at Cloud Factory in Woodland Park, NJ, with close friend and collaborator Shane Furst.

Where ‘Dead’ and ‘Painbox’ are a lo-fi macabreists day-dream- all bedroom insularity and collaborative-cessation, ‘Lifetimes’ is the inescapable no-man’s-land in which real-world nightmares form the basis of subconscious freedom. Inspired by a hyper-realistic dream in which Caston visits a friend who’s recently passed, ‘Lifetimes’ reaches beyond the parameters of love and loss to clutch the beating heart of bereavement; manifesting itself as an emblematic embodiment of tranquillity and mournful incomprehensibility.

“I could not communicate or speak , but was in my friend’s basement helping them fold laundry. Such a weird scenery but Incredibly peaceful. When I awoke, I was permanently affected and in extreme pain. I wish I could have had a conversation. Our dreams take us to different universes and it makes us feel connected to others.”

A tough year to follow, 2023 see’s High. start as they mean to continue with the release of their fourth single ‘Bomber’. Forming the basis of their debut EP set to swiftly follow suit, ‘Bomber’ is a luscious demonstration of melancholic freak-out; all wrinkled guitars and saturated bursts of lyrical explosiveness. Recorded this time, at Strange Weather Studios in Brooklyn (the iconic haunt of fellow Shoegazers DIIV), with Daniel Fox and Daniel Schlett, ‘Bomber’ is a heightened step-up into a newer, grungier unknown; a definitive mark which sees the group twist and contort the iridescent musicianship we’ve grown to love thus far, with effortless conviction.

Follow High. on Instagram here. Stay tuned for future releases here.

Photo by Luke Ivanovich.

Issue Forty-One of So Young is out now and available to read in print here or as a digital magazine below.

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A thing that’s, most importantly, tangibly their own.

Born out of the woodwork of previous projects, Teeth Machine are quite simply, THE ONES to keep an eye on over the next twelve months. A one-of-a-kind creation from the minds of vocalist / guitarist Gray Rimmer, and saxophonist / lead guitarist Arthur Bently – two of London’s DIY sweethearts (Gray is also a member of the choral group WOOM, while Arthur teaches illustration at Camberwell College of Arts). The group have ceaselessly spent the last few years conjuring up a back-catalogue of what can only be described as: atmospheric genius. Genius of which the wider-world has only just found itself worthy of.

Reuniting through an endless series of bedroom sessions and laptop demos, Bently and Rimmer swiftly began piecing together the various outlets picked up from years’ worth of creative practises in order to discover something new. What was to follow those sessions would be a salvation from the confines of self; a thoroughly explored desire to create a world in which language, conceptual synergy, and creative deconstruction / reconstruction took precedence.

Solidifying the line-up with Jamie Staples (Wunderhorse, Matt Maltese, Broadside Hacks) on drums, bassist Anthony Boatright (Monzanto Sound) and Ciara Reddy (a film director) on vocals / synth, Teeth Machine’s debut single ‘Drive By DK’, was released in February 2022 via close pals Slow Dance Records (Platonica Erotica, Glows); who included the track in the ‘21 edition of their annual ‘Slow Dance’ compilation.

A sensorial demonstration of physical, spiritual, and lyrical decadence- a restlessly riotous cross between the unsettled ambience of Portishead or Cocteau Twins, and the empathetic hauntings of philosopher Jacques Derrida. ‘Drive By DK’ was a sensual introduction to a group of artists with cult-like intrigue and infinite musical ambition.

This is storytelling at its most immediate. In a bid to replace the literal objectivity that songwriting often encourages, Teeth Machine gradually become a mysterious love affair; one in which instrumental improvisation plants a firm kiss on the hollow cheeks of poetic fallacy. A timeless move which would make even the most charismatic artist blush and fall under their harmonious spell.

Having performed in secret, and then publicly (but only to those in the know), Teeth Machine cut their bare-bone-brilliance across London’s ravenous subcultural underbellies. Rapidly crafting their signature blend of harmonious howl, which transports its listener into an ecosystem of genuine unrestrained humanity.

“Playing live is a kind of magic practice” they note. “At its best it can feel like a ritual or group conjuring, where the energy produced in a room and within people’s bodies leaves each person feeling subtly transformed or elevated.”

Success was imminent, but placing their music in the hands of others would prove to be one of Teeth Machine’s biggest leaps of faith to date. Commencing their journey first with WOOM’s label House Anxiety, before eventually signing to indie label Ra Ra Rok (Wu-lu, The Goa Express), the group were able to find confidence in the arms of those closest around them; further cementing Teeth Machine as not just a beguiling collective on the rise, but a 360 circle of trust with inspired friendships.

Teeth Machine in Issue Thirty-Six of So Young. Illustration by Ian Moore.

Where ‘Drive By DK’ swirled with impassioned exhaust- like a tranquil headrush after a heavy bout of tears, in their Ra Ra Rok debut ‘Gumball’, cupid’s arrow is set on fire and shot into the infinite abyss of relationships, euphoria, and murky unknowns.

A beautifully bruisy alchemy of crashing cymbals and weeping guitars, ‘Gumball’ was released on November ‘22, with a 7” (of the same name) and second single ‘Penny’, following suit. Entirely self-produced, and recorded between a shed belonging to Staples, and Bently’s home, ‘Gumball’ (which was mixed by Dilip Harris) is a frenzied mantra for communicative breakdown. Like a spider caught in a web of its own existential creation, ‘Gumball’ seeks to question, resolve, and renew- doing such with meticulous raw-intent.

With a sense of boundary-less nonchalance often reserved for bands far further in “the game”, Teeth Machine play with parallels as though it were a second-language. Whether they’re sound-tracking the madness of adolescence through the medium of collective peace, or mutually documenting the elated high’s and lingering lows of the individual, few can capture the human spirit quite as unconventionally as Teeth Machine.

Which leads us to the present now. With the imminent physical release of ‘Gumball’, which comes as a ten-page concertina (5 panels per song) written to “symbiotically symbolise the project opening from internal spaces, into expanded worlds”; and with artwork by Bently, music videos by Reddy and an endless array of fellow musicians at their beck and call (Both Marco Pini of Slow Dance / Sorry, and Campbell Baum of Ra-Ra Rock / Sorry, who Teeth Machine would eventually go on to tour with, have played key roles in the bands preliminary stages), it’s safe to say that Teeth Machine’s tale, from its very inauguration, has been a collaborative one. And yet, we’re still only just at the very beginning.

“Welcome to an adrenaline rush” – Penny, ’22.

Header photo. by Lara Laeverenz

The new issue of So Young is out now. Order your copy in print here or read the digital edition below.

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Such is one benefit amongst the countless negatives which enthral the social media generation of the late gen-z demographic – the potential for collaboration coupled with the ability to promote art to a widespread audience. Perhaps this is why these days we are able to enjoy the work of artists at such a young age. More accurately in this context however is the fact that Verity and Morgan have been able to write such astonishingly brilliant music during their very early adulthood. Here, pure talent is the necessary precondition to success, something which we will no doubt be the witness of in the coming years. If you enjoy reciting the saying, ‘I knew them way before they were massive’, it’s time to listen closely.

As a focussed and ambitious fourteen-year-old at the time, Verity posted an Instagram advert looking for likeminded musicians to collaborate within Edinburgh. Although equipped with the writing skills most singers only dream of, Verity required strong instrumental support; something which Morgan was only too ready to provide, having grown up in an intensely musical household littered throughout with guitars and recording equipment. A year’s difference at school failed to stop Morgan responding to Verity’s post.

The band have always maintained just how important these former years were on the creative evolution of No Windows. Avoiding a single-minded journey into one specific genre of music was responsible for the diversity within their latest tracks ‘Shout (Red Song)’ and ‘No Clue (Green Song)’, which collate a dense dream-pop impression coupled with a shoegazey, melancholic aesthetic. The importance of playing music purely for its sonic resonance was, for both Verity and Morgan, why these years of performing at school informs their naturally assembled originality so well today. Whilst Mac Demarco’s initial project, Makeout Videotape, exposed to Morgan the opportunities presented through writing in alternative tunings, notably, open D, covering old classics such as ‘Dream a Little Dream of Me’ and newer bangers such as Declan McKenna’s ‘British Bombs’ helped establish the suitable conditions for No Windows’ upcoming EP ‘Fishboy’.

No Windows in Issue Forty of So Young. Illustration by Ren.

Aside from their musical influences and long withstanding musical relationship, the pandemic era forced these two to grapple with a new creative structure which had to abandon the pre-existing physical proximity between Verity and Morgan. Instead, their music was having to be defined by the distance between the two of them, forcing instead the exploration of a newfound reliance on their own individuality, rather than the two of them collectively. The result – the music which has had such a profound effect on me. In fact, neither Verity nor Morgan seek to return to their writing method pre-covid, rather, distance has become the most productive ingredient to No Windows; each song feels isolated, distorted, and introspective.

Echoing those wonderful collaborations between Mazzy Star and Jesus and Mary Chain, No Windows’ newest release ‘No Clue (Green Song)’ is a direct product of their writing situation described above. Changing seasons and entering a new stage of life development is at the centre of this track’s DNA, highlighting those overwhelming and sometimes incredibly challenging emotions we all experienced as coming-of-age teens. At least Verity and Morgan have this beautiful song to represent such an ambiguous era.

What No Windows possess is a pre-egoistic passion for creative collaboration entirely removed from reductive, influencer status sociality that we see all too much nowadays. This duo disdains the blue tick frontperson cliché, or the danger of beaming a singular spotlight onto the chosen lead; rather, Verity and Morgan exist within No Windows through a neutral symbiosis which selects music, as opposed to social validity, as the most pertinent and perpetual element.

The new issue of So Young is out now. Order your copy in print here or read the digital edition below.

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Having met on a tinder date one summer in Glasgow, Anna Acquroff (“pronounced AK-yuh-roff”)- a tattooist, model, and degree holder in the sociology and psychology of music, and Joshua Chakir- a hairdresser-come-synth-extraordinaire who’s: “the reason [we] have loads of creepy hairdressing heads at our sets and merch desks”, connected over mutual love of all things music. Spilling coffee everywhere and waxing lyrical about being in a band, Chakir, in no time at all, convinced the budding vocalist Acquroff that you can indeed “just start a band and do gigs, no one will stop you”.

Six months down the line and with the addition of Eilidh O’Brien (“pronounced like Hayley without the H”) on synth and guitar, bassist Cal Menzies- the budding gig-photographer who Chakir met in Edinburgh, and Joseph Lowrie on drums, Medicine Cabinet, despite their questionable naming, emerged out of the western Lowlands as the destined to be superstars we meet them as today. “There’s no such thing as a good band name, only good bands.” 

A “creative/busy/interdisciplinary bunch” who seek pleasure and inspiration from all manners of outlets- whether that’s “coding for sound and embroidery”, releasing “loads of secret music” via Soundcloud and under a plethora of pseudonyms, or burning energy as quote-on-quote “gym bros”, Acquroff, Chakir, O’Brien, Menzies and Lowrie, appear to be a five-way-match made in alt-heaven. Be it the iconography of La Roux, Riot Grrrl’s unabashed authenticity, the rhythmic seduction of Working Men’s Club, or “genres where cute meets scary, like metal pop”, Medicine Cabinet soak it all up like a well-dressed sponge of charm, humanity, and pop musicality at its most vignette and pure. 

“I think we’re always chasing that sort of satisfying feeling that songs can give you” notes Anna. “where they let you feel part of something… or imagine another world or life or circumstance; or, make you feel something really strongly.”

Medicine Cabinet in So Young Issue Twenty-Seven

Produced by Pete Robertson of Beabadoobee acclaim, and written in London’s RAK two and a half years ago, Medicine Cabinets debut single ‘The Signs’, is a fearless first glimpse into the creative-minds of a group we’ve been begging to be formally introduced to. A hook, spark, and joy laden hit written “in the room that one of [my] favourite Ladyhawke albums was written in too” (muses Acquroff), ‘The Signs’ gives laid-back confidence and shimmering polyrhythm; a charismatic sign of all that remains to follow.

Whether they’re busying themselves channelling “hope”, desperately looking for “meaning in the signs and symbols and happenings around [you]”, or “finding belonging in other people”, rest assured every detail has been thought out to achieve the maximum levels of narrative-renegade. This may well be the first, but it’s surely not the last time you’ll be hearing from Medicine Cabinet. In their own words: “Your favourite non-existent band officially exist.”

Issue Thirty-Seven is out now Ft. Porridge Radio, Crows, Folly Group, The Dinner Party, Automatic, Gently Tender, headboy and more. Buy in print here. Read the digital edition below.

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An anagram of its members’ names, Porchlight began their descent into anarchic-articulation, when Sam, Oli and Criddle met whilst studying. Portsmouth natives, the project truly came to life once the gang made the big move to Brighton- joining forces with pals Oz and Rob, (“who produced the first two singles”) and Archie, “who co-runs Only Mellor.” 

“Collaboration makes Porchlight, Porchlight. Recognising talent amongst friends and establishing a community with our friends and peers to create an immersive sonic experience.”

With, in their own words, their faces “pressed against rain laced windows whilst we waited for the day where [Tom H] would eventually assemble us”, it wasn’t until the trio met the duo of Tom’s, that all the sleep deprivation, “lusting hopelessness”, and general dreams of peace, love, and “world domination under the name Porchlight”, would come into true, fateful-fruition.

Now, don’t for one minute think that this is a tale of Patterns club one minute, Pyramid Stage the next. “Stacking shelves, books, and failing to hold down jobs”, all might sound like a bunch of adolescent dreamers clinging to the romanticised ideal of an inevitable creative destiny, but the road to glory is only ever as rambling as the minds of its weary travellers; and with Porchlight, the path to Punk-ish prosperity is luminous.

Inspired by “Greggs sausage rolls”, “hiding our lack of comedic qualities behind stupid references” and the creative-influence of “being in a room together”- the space in question: a big room in Brighton’s ‘South Lane Studios’, the motley bunch of wit loving reprobates quickly settled into a headspace of collective-faith, and nuggeted voice-notes. “Some of the things that happen in that room could only possibly happen when five humans are completely unashamed and comfortable” they note. “Honestly, shit gets weird.”

Porchlight in So Young Issue Thirty-Five

Recorded at ‘Brighton Electric Studio’ and released via Only Mellor (a “community led events, label and management company based in Brighton”), ‘Drywall’ and ‘Country Manor’, the groups only releases to date, are two spotlight’s in the grander scheming’s of Porch-lit splendour, and meticulous, sardonic-success.

Written, unsurprisingly, at a Country Manor, the three-minute commotion was loosely inspired by an upper-class family tea party that Sam worked at. Fuelled by a banded distain for the “gritted-teeth and Oscar winning facades” of its namesake, ‘Country Manor’ is a vivacious, borderline-glam-anthem of untouchable realities, and frenzied call-outs; all blue-collar outrage, and scathing attention to detail. Everything, right down to the track’s press-shots (taken on “the location in which said party was located”) has been minutely knit-picked in order to spin a turbulent-tale of deviously-derivative narrative.

As for ‘Drywall’, a blissfully slacker number conspired in the bedroom of Oli’s window-less, 3rd year flat? “There was something about being surrounded only by walls that made me feel like I was surrounded only by walls”, Oli muses. 

In the end, all that remains to be spoken for is left in the capable hands of Porchlight’s own devices. After all, when asked ‘what’s next?’ The answer will more-or-less only ever be, “more”, and rarely less.

Catch Porchlight at The Social, London on Thursday 31st March for We Are So Young 14. Entry is free.

The new issue of So Young is out now! Issue Thirty-Six features interviews with Wet Leg (Print Cover), Jockstrap (Online Cover, below), Black Country, New Road, Metronomy, NewDad, Teeth Machine, ENUMCLAW, Been Stellar, Blue Bendy, BODEGA, Catcher and more. Order your copy here or read the digital edition below.

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