Bido Lito June 2021 Issue 114

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SPOTLIGHT SEAGOTH “Songwriting allows me to be emotional in a pretty raw and healing way” Channelling emotion through joyous sprinkles of synth. If you had to describe your music/style in a sentence, what would you say? Waves of synthesizers and waves of emotion. Have you always wanted to create music? How did you get into it? Pretty much, I used to write a lot of poetry as a way of expressing my tween-self. So, when I got into playing music, coming up with lyrics came almost naturally to me. Growing up listening to bands like Linkin Park and Evanescence with their heavily emotional lyrics inspired me, sort of; it made me realise that music didn’t have to just be about ladies and booze. Can you pinpoint a live gig or a piece of music that initially inspired you? The first ‘gig’ I went to was an All Time Low show at the Manchester Arena in 2016. I was never super into their music, but I was going with my friend who was. At this point I was really passionate about music so being there with people who were also passionate was amazing. I remember being in the moment and seeing all the guys on stage and thinking, ‘That’s what I wanna do’. Pretty lame, but it was a defining moment for me because I realised I loved live music. What do you think is the overriding influence on your songwriting: other art, emotions, current affairs – or a mixture of all of these? I’d definitely say all of the above. Songwriting allows me to be emotional in a pretty raw and healing way. Letting your mind flow while writing about something deeply personal and then singing about it helps me get over things, I think. If you could support any artist in the future, who would it be? Without a doubt, Declan McKenna. Do you have a favourite venue you’ve performed in? If so, what makes it special? The Cavern, definitely, because so many stars have walked on that stage and the energy down there is indescribable. Why is music important to you? Music helps me give context to my emotions, listening to it elevates me emotionally and it always has. It’s so universally enjoyed that, even in times of incredible divide, we all listen to the same songs. Seagoth plays St Barnabas Church on 28th May and RivFest in Warrington on 8th August 36
KOKIRI A producer and DJ of full-bodied house music. If you had to describe your music/style in a sentence, what would you say? It sits on the borders of melodic house, with elements of soul, disco and classic house hiding in there too. Have you always wanted to produce? How did you get into it? I got into production when I was about 12/13. My brother showed me a song he had on vinyl and explained to me that the lad who had made it produced it in his bedroom. It blew my mind. I thought that you needed a big expensive studio to release music. When I realised I could make tracks on my PC, I became obsessed. Do you have a highlight in your career so far? For me, it happened about six years ago, when I’d put together a song called Retrospect. As soon as it was released, it was being played at shows, festivals and even topped the Radio 1 Dance Chart. It then went on to be released by Ministry of Sound. To what extent has Liverpool’s electronic music scene and clubbing scene influenced your work as a producer? One of the reasons I wanted to produce music was because of Mike Di Scala. He was basically running the Scouse house scene when I started. He was doing exactly what I aspired to, just a lad making music and playing it out at shows; this was a massive inspiration to me. What was the inspiration behind your newest track So Free? Any particular musical influences? The original idea for the song was made back in 2015. I came across a sample that had a tribal vibe and spent a couple of hours playing around with it. Fast forward a few years later, I had a writing session with Jem Cooke who appears on the track. I found an old mp3 of the idea and asked if this was something she’d be interested in writing to. She loved the original idea, so we went from there. I was introduced to Todd Terry through my label and showed him some of my demos. He loved it, and I suppose the rest is history. You’ve already worked with legends such as Todd Terry. Is there anyone who you aspire to collaborate with one day? Collaborating with Todd was definitely a bucket list moment for me. I could probably list about 100 people who I’d love to collaborate with, with but I’ll narrow it down to my top three: Ben Böhmer, Tom Misch and Roy Ayers. Why is music important to you? I just love that you can hear a song that you haven’t heard for years and it has the power to transport you instantly to a different point in your life. I want to be able to give people that feeling. I want listeners to relate to my music, understand why I’ve created it and leave them with a lasting effect. So Free is available now via Perfect Havoc @kokirimusic MONDO TRASHO Breathless surf rock with a recording prolificacy to keep pace. If you had to describe your music/style in a sentence, what would you say? Jay (guitar/voice): Scouse surf-rock/garage noir. Chris (Organ): With added cinematic feel. A mix of grandiose Echo And The Bunnymen and the dirt-surf garage from The Cramps and the Dead Kennedys. Have you always wanted to create music? How did you get into it? C: I started mostly by getting few instrument lessons in school. As soon as I was shown a power chord or a Nirvana song on drums I never looked back. We’ve always been in some sort of band, from the cover groups we started at school, to our three-chord punk bands we were in as teenagers. What drew you towards the lo-fi garage sound in particular? C: We feel like with new recording and production methods the surf sound can get over-produced. J: It’s important we have some grit. C: We want our music to sound like it’s been buried in a damp basement for decades. You’ve just released a series of three EPs. How does each release connect with each other, and how do they differ? C: Each EP is distinct, while all staying true to our sound. The first, That’s Trash, showcases how diverse our songs are. We picked one of our grand cinematic tracks with Running Scared, a fast garage track with 86’d and slow surf track with One Eyed Jacques. J: More Trash has three darker tracks both in feel and lyrical content. C: And Pure Trash has tracks you can dance to, with songs like Tear It Up. What do you think is the overriding influence on your songwriting: other art, emotions, current affairs – or a mixture of all of these? J: It stems from wanting to do something artistic. You know, just to leave something here for when you’re gone, to prove you existed. I quite like thinking about the future and someone saying, “Here’s my uncle’s old band.” C: Or, “My granddad was in a band, you know, on this old website called Spotify.” It’s a break from your working life. I like thinking art, old horror films, John Waters films, B-movies and Twilight Zone episodes inspire us. Do you have a favourite venue you’ve performed in? If so, what makes it special? J: We only had the chance to play about three venues before the pandemic, but Drop The Dumbulls sticks out. It’s DIY to its core. Why is music important to you? J: It’s everything. C: It’s something that’s always there. Music is the perfect tonic. It’s the principal thing. Photography: Mat Colfar That’s Trash, More Trash and Pure Trash are out now and play Shipwrecked at Future Yard 14th August. SPOTLIGHT 37
Page 1 and 2: ISSUE 114 / JUNE 2021 NEW MUSIC + C
Page 3 and 4: TATE LIVERPOOL UNTIL 5 SEPTEMBER 20
Page 5 and 6: COMING SOON ANTI SOCIAL JAZZ CLUB /
Page 7 and 8: In Liverpool 2-year degrees and 1-y
Page 9 and 10: E D I T O R I A L Proximity has bee
Page 11 and 12: The Orielles - Photo: Rebekah Knox
Page 13 and 14: LIFE IS FUN Podge has always refuse
Page 15 and 16: “Everyone has the capability to m
Page 17 and 18: their own lanes and they’re not f
Page 19 and 20: THE CORAL On their 10th album, The
Page 21: FEATURE 21
Page 24 and 25: Riotous, emotive and informing, Dan
Page 26 and 27: LIKE THE FIRST TIME Live music retu
Page 28 and 29: “I’d convinced myself I would b
Page 30 and 31: MAKING WAVES Adam Noor highlights t
Page 32 and 33: STATE OF THE STUDIOS, STATE OF THE
Page 34 and 35: RON’S PLACE 34
Page 38 and 39: SPOTLIGHT A LESSER VERSION Liam Eva
Page 40 and 41: PREVIEWS “If I’d just had it ea
Page 42 and 43: PREVIEWS GIG VLURE 15/06 - Future Y
Page 44 and 45: REVIEWS Rashid Johnson, Stacked Hea
Page 46 and 47: REVIEWS haunted, not by people, but
Page 48: FUTURE YARD 75 ARGYLE STREET SOCIAL
Page 52: Tara Finney Productions in Tara ass
Page 55: THE FINAL SAY “Die-hard fans are

Bido Lito June 2021 Issue 114

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