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?
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.
“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.
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.
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.
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.
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.
The General Election on December 12 is set to be the most significant in a generation. In the most obvious terms, it will determine which way the Brexit pendulum finally swings, but there’s much more at stake, including the future of the NHS, affordable housing, taxation, immigration and the environment.
Culture and creativity are also in the mix, with Labour leader Jeremy Corbyn pledging to invest £1 billion in arts spending if elected. Yesterday (November 24) he launched his Arts for All charter at London’s Theatre Royal Stratford East with a few friends – including M.I.A., Emeli Sandé, Billy Bragg, Ken Loach, Clean Bandit, comedian Rob Delaney and a video-linked Lily Allen. It’s big. It’s bold. It’s hugely ambitious. Does he really think he can pull it off?
NME speaks to the man hoping to end nine years of Conservative rule to find out.
Like most 16-year-olds in 2019, Alfie Templeman finds himself growing up torn between a maelstrom of political uncertainty, environmental crisis and, well, tweeting pictures of your face photoshopped onto a dog. Unlike his peers though, Templeman’s face has been showing up in some even less likely places – namely splashed across billboards in LA and Times Square. With gloriously hazy new single ‘Used to Love’ adding to an already impressive list of early releases, he might need to start getting used it.
For those who possess both the requisite drunken bravado and burning desire to maul Robbie Williams’ back catalogue, karaoke parties are rarely the start of something beautiful. Mistakes are made, memories are lost, and some traitor inevitably captures the whole tawdry scene on video. When Lewis Maynard, Tom Dowse and Nick Buxton – old friends whose previous bands had crossed paths in London – united to belt out some Deftones bangers, however, it proved to be the unlikely catalyst to start a new band together.