NME

Brit Marling and Zal Batmanglij speak to NME: “We don’t think ‘The OA’ is dead”

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Photo: Brit Marling/Instagram

Addressing the new show’s exploration of late-stage capitalism, Batmanglij said both creators felt they had no choice but to address humanity’s biggest crises in their work. “People sort of roll their eyes when you talk about it, but it’s actually just the reality of what we’re living in, and we would be crazy not to talk about it in every single story we make,” he tells me.

“It’s that and the climate crisis. How can anyone tell a story these days without addressing the climate crisis?”

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Two years on from its cancellation, ‘The OA’ is still missed

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The OA

Theoretical physicists will tell you that our linear concept of time and space is a fallacy, that the speculative worlds we dream up when we imagine different choices – catching that train, getting that job, kissing that person on that night – are not only possible, but happening right now in concurrent dimensions. Which means, of course, that there’s a world out there somewhere in which The OA is still going. So why isn’t it this one?

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‘ToeJam & Earl’ taught us about aliens, hip-hop – and what it means to find home again

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Credit: Nel Antopina

You know how it is. One minute you’re carefully sneaking up on Santa, ready to prise some super hi-tops from his jolly mitts, when all of a sudden a phantom ice cream truck announces its arrival with an almighty honk. You scramble to check for presents that might help but, having already randomized twice, you’re as likely to unleash a torrent of tomato rain as a life-saving boombox.

If none of this is filling you with nostalgia, perhaps you missed out on the gonzo pleasures of ToeJam & Earl, this year celebrating the 30th anniversary of its release on the Sega Megadrive. A sleeper hit by all accounts, the game went on to become a resounding cult classic that spawned a string of sequels, each one an ambitious attempt at replicating the original’s charm.

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Black Country, New Road: sax and violins from Britain’s most prestigious new band

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“We’re not here to talk about us as individuals,” Hyde says. “We’re not here to talk to people. We’re here to just play music.” Evans is equally perplexed about the purpose of music interviews. “They wouldn’t care about who we were if we weren’t playing in a band, so why do they wanna know who we are as people?” he asks. “If you’re, like, a politician or something it makes more sense, because they literally say what they believe in all the time. But we don’t do that.”

There’s an argument to be made that, in the age of unfiltered access to artists and public figures, the self-styled mystery around the band offers something fresh, an antidote to round-the-clock social feeds. Then again, the masquerade is only sustainable as long as people believe there’s something thrilling – or even valuable – behind it.

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Deerhoof – ‘Future Teenage Cave Artists’ review: experimental rock veterans dig deep to cement legacy

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Deerhoof

Credit: Shervin Lainez

The problem with setting your stall out as DIY punk futurologists is that eventually you live long enough to see how most of it pans out. Certainly this is true of San Franciscan racket merchants Deerhoof, who formed in 1994 and have spent the subsequent two-and-a-half decades devising and then tearing up templates for what an indie rock song might sound like. In that time they’ve witnessed a montage of horrors – social media, President Trump, the last two Animal Collective records.

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Best Coast’s Bethany Cosentino: “I questioned whether I would ever be able to make music again”

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Best Coast: Bobb Bruno and Bethany Cosentino

Credit: Eddie Chacon

“It is very funny that I’m forever etched with this old side of myself, and then this new side of myself,” Bethany Cosentino points out, referring to the bittersweet contrast of her hand tattoos: one side reads “trust no one”, the other “let it go”. The Best Coast singer is seeing a lot more of the humour in life’s dualities lately, particularly since getting sober and writing one of the best albums of her career. “Also Lana Del Rey has that tattoo, and I love Lana Del Rey, so I was like, ‘That’s sick, maybe I’ll do that too…’”

Alongside multi-instrumentalist bandmate Bobb Bruno, Bethany is extremely – and rightfully – proud of Best Coast’s fourth LP ‘Always Tomorrow’, a record released in February this year but born in a moment of wish fulfilment years ago. Lead single ‘Everything Has Changed’ was an elbow to the ribcage of critics who presumed naivety in her songwriting, but it was also prophecy to a life she hadn’t yet started: one that didn’t revolve around waking up in tears after another messy blowout.

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Izzy Camina: Meet the rising techno-pop star bringing nihilism to the club

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Izzy Camina

Izzy Camina is awake, but only just. After getting up and crushing some poorly-made coffee in her LA home, she stares up into the sky, hoping the blue light outside will offer some additional sustenance. When NME calls, the laughter on the other end of the line betrays a 24-year-old for whom four hours’ sleep is entirely manageable. “I’m a ten hour girl, but fuck it,” she giggles again, freshly caffeinated and ready to take on the world.

It’s the kind of energy that burns through ‘UP N DOWN’, the singer’s first single that dropped back in December. A paean to the saturnalia of youth and all the lows that come after, the bass-driven track captured something most of us were feeling: an unshakeable impression that we might be dancing through end times. “Humanity is sick,” she sings, “but it feels so much better when you seal it with a kiss.” It’s unmistakably the work of a young artist who’s already experienced her share of highs and lows.

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Waxahatchee – ‘Saint Cloud’ review: Katie Crutchfield embraces her Americana idols with stunning results

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Waxahatchee Saint Cloud NME review

Credit: Molly Matalon

At the time of Katie Crutchfield’s last album, 2017’s glorious ‘Out In The Storm’, the songwriter was already talking about stepping back from that record’s adamantine energy. Having recorded as Waxahatchee – named after a creek near her childhood home in Birmingham, Alabama – for the best part of half a decade and with four albums of bittersweet indie rock by that point, the record felt like a sea change.

In hindsight, that desire for peace spoke to more than musical preference; after Crutchfield’s last tour wrapped up the singer quit drinking, something she’d been swearing to do since the age of 17. Inevitably, given that Waxahatchee has always been a relatively autobiographical vehicle for the artist, it was impossible to detach much of the art from its real-life narrative template.

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The Big Read – Porridge Radio: “I’ve always known that we’re the best band in the world”

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Porridge Radio

Credit: Fiona Garden

Dana Margolin is not surprised that her band’s on the cover of NME. If anything, she’s wondering what’s taken everyone so long. “We’ve always been like, ‘Yeah, obviously we’re really good and we know it,’” the singer tells us from her home in London, and it’s not immediately obvious how straight she’s playing the line over the phone.

Porridge Radio, Margolin’s gang of world-beaters in waiting, have already spent five years playing DIY shows and hawking ‘zines around Brighton. “It’s funny in a way to get all this attention now,” she says. “I could have told you that ages ago!’”

And you know what? She’s got a point. Following their low-key, lo-fi 2016 debut album ‘Rice, Pasta And Other Fillers’, the band’s new record ‘Every Bad’ is set to be unleashed on March 13, and it’s spectacular. Vulnerable and vitriolic, punk rock and pristine, it’s the sound of four young people thrust into a burning planet and making sense of it the best way they know how: by writing the kind of songs that are destined to be screamed back at them from the crush barriers.

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Allie X: The weird pop dynamo out to slay the industry dinosaurs

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Allie X

Credit: Press

There’s a scene in Allie X’s recent video for ‘Regulars’ in which the artist wanders into a laundromat – 10-inch heels, shaved eyebrows, dressed head-to-toe in black – and picks out a plaid jacket from one of the machines. As she totters back out and tries it on, still stumbling in those insane heels, the jacket seems to say: here you go, fuckers, I’m one of you now; it screams into the suburban parking lot. “I don’t take shit anymore, I really don’t,” the artist tells NME, calling out a male-dominated industry that’s been judging every step of her career for years.

But then Allie X has always operated on the peripheries of pop stardom and goth chic, caught between one desire to be embraced as a commercial success who speaks in universalities and another to sing eerie lines about her proximity to fresh laundry. “I feel like there’s this desire to disappear into the crowd and be normal, but also this real desire to be seen,” she explains to NME over the phone from Brighton, where’s she set to continue her support slot on the latest Marina tour that night. Disappearing into the crowd feels like an unlikely option.

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