Interview: Dream Wife throw pastel shade

Dream Wife

Ready to feel old, 90s kids? Everything you love is dead. Or worse, reanimated: stitched together with swatches of hot neon and cool pastel, jumbled into a cruel parody of the human form, staggering down your street in the rain, rapping harder and harder against your door now, begging to be let in, to return home. You glance over at the monkey’s paw on your desk, only one finger raised now; it’s turned back into a Brat Award. The banging won’t stop, but you know that thing at your door isn’t EMF – or at least, not as you remember it. It’s James Atkin performing Schubert Dip in full. Don’t answer it.

Not that you’re likely to find Dream Wife compromising their youth for a weekend in Minehead. Even if they were old enough to call it nostalgia, those kind of line-ups would be wasted on the Brighton-based trio; one suspects they harbour the good taste to pick Shampoo over Shed Seven all day long. But their heart lies in a particularly American 90s: one that revolves around David Lynch, Kathleen Hanna, Carrie Brownstein, mixtapes, fanzines, anything shrouded in ambiguous hues. (“We only dream in pastel colours,” they literally said in an interview last year.) In fact, the Brighton-based act initially started as a parodic art project, three feminist art students picking apart the key girl group signifiers and piecing them back together in their own way. More Derrida than Frankenstein though, right? We caught up with Alice, Bella and Rakel to get their hot take on art, music and feminism. And boy, did we get some big answers.

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Mogwai – Atomic


Ah, the soundtrack. Chances are your favourite band (or their increasingly disengaged guitarist) has indulged in a 40-minute laptop sojourn around a documentary about Indonesian sloth wrestling, before skulking back to the day job of arguing about drum fills. 10 years pass, and everyone quietly accepts that it happened without having to ever talk about it again. Not so for Mogwai, whose 2006 accompaniment to Zidane: A 21st Century Portrait was considered such a triumph – and rightly so – that they wheeled it out for a string of dedicated live dates seven years later. 2013 also saw the band soundtrack French drama Les Revenants and find time for an 8th studio album, Rave Tapes. Now they’re back to score Atomic: Living In Dread And Promise, documentarian Mark Cousins’ sobering insight into the horrors and anxiety of the nuclear age.

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Yeasayer – Amen & Goodbye

Amen Goodbye

In case you missed it, Peter Robinson wrote a rather excellent article earlier in the month discussing “post genre” bands, and the way in which millennials are acclimatised to consume all music without recourse to a genre-fixated cultural identity. It makes an awful lot of sense: as I write, a former member of One Direction is the cover star of this week’s NME. It also got me thinking back to the first time I saw Yeasayer covered on Robinson’s Popjustice blog. It seemed strange, then, that “O.N.E.” could be critically adored on Pitchfork, while simultaneously being enjoyed next to Alphabeat.

Continue reading at Drunken Werewolf