Gut Health: The Band You Need To Know

Original photo by Sophie Gabrielle. Handmade collage by B.

Naarm/Melbourne five-piece Gut Health’s’ EP Electric Party Chrome Girl is one of the fieriest debuts of the year. Their no wave, queer rave culture inspired post-punk floor-fillers are uninhibited, full of energy and addictive. The biggest strengths of the four-track collection is its joyous fun and assertively tongue-in-cheek wit. It’s full of character and panache. We saw their LGBTQI+, femme, and non-binary heavy lineup play a wild show earlier in the year and from that performance alone, we were hooked, and patiently awaiting a release! 

We are thrilled to be introducing you to Gut Health and premiering their debut single ‘Inner Norm’ today. We recently got to know four of the band’s members Athina Uh Oh, Adam Markmann, Dom Willmott, Eloise Murphy-Hill and hear about their musical journeys, inspiration and music.

What have you been up to lately (band-wise or otherwise)?

ADAM: We had a little rest for a couple of months just before this release. Athina and I had an amazing trip through Europe and Egypt. It was spectacular! Now we are getting the ball rolling again, getting back into venues and getting excited about the release of our new EP.

Tell us about Gut Health’s origins.

ATHINA: Gut Health was Adam and I making fun during lockdown. Though we both had aims for the project, it grew naturally out of a connection to music we shared a love for, each other, and later to the rest of the lovely band members. 

Dom and Adam are also long time collaborators, so their process is rather organic. Myka and I had met a few times through some of my friends who play music with them. I was very honoured that they were interested in being a part of the project after nervously hitting send on that first message. Long time admirer. Eloise and I have a few mutual friends, so when I heard that they shred I was very excited. Oh, and Angus and Adam met truckin’. 

Each of you are from different backgrounds from punk to jazz, and influenced by queer rave culture; tell us a little about where you’ve come from?

ELOISE: Most of the work I’ve done is mostly in the folk-pop music world, playing in bands with close friends and for a couple of my friend’s solo projects. What I really love about Gut Health is that it’s given me a space to play guitar in a completely different way than what I’m used to. 

DOM: I’ve played in different noisy bands with Adam for about 5 or 6 years now but our first ‘music date’ was him showing me James Chance and then us writing a complete rip-off track. In a way, Gut Health is us just getting back to what we started. 

ATHINA: The only other music project I was involved with was with some dear friends playing more soul driven tunes and a short DJ stint. I was definitely in need of a little more confidence then! Life’s a mission of finding your own voice – it’s possible that people can tell when you’re being true to yourself or not. 

How did you first discover music?

ADAM: I’m very lucky to have an extremely musical family. My Mum and Dad were always listening to great punk, goth and new-wave music from the 80s. My mum worked in a record store when she was younger, and my dad taught me my first guitar chords. My uncle is a bass player too and inspired me quite a lot to pick one up. I grew up with a healthy dose of Stone Roses, My Bloody Valentine, Elliott Smith and the Cure when I was little.

ELOISE:I think I had just the old CD’s in the car, acoustic guitar around the house, childhood discovery of music. Lots of Paul Kelly, Crowded House and Stevie Wonder. I remember when I got an alarm clock that also had a CD player in it- such a game changer. 

ATHINA: I’m also grateful to have a family who mainly work in creative fields. If we go back, my granddad was an accountant but he collected a fuck-tonne of trumpets throughout his life and would play for hours out of passion. My grandmother was a conductor and played a few instruments. Dad therefore grew to love music, collecting records that I was able to put on as a child and playing it. 

My parents recall me jumping off the walls to The Collins Kids, and bringing a CD of The Stylistics so the whole class could lie down in rest time and listen to it in prep, because it would make me cry, haha. My mother’s family would put rembetika among other things on the speakers. 

Photo by Jhonny Russell.

Who’s one of your musical heroes?

DOM: R. Stevie Moore changed my perspective on what music can do and what a musician can be. He was so unapologetic and so varied, always making, always acting on impulse and always doing it for himself.

ADAM: Elliott Smith is my favourite musician of all time. I grew up on him, my parents would always be listening and my dad would always be singing and playing his songs. I feel like he’s become part of me in some way. I love his vulnerability, truthfulness and talent.

ELOISE: I think the way that Arthur Russell made music was just incredible, seems like music would just be constantly coming out of him. Such a variety of styles as well.

What’s an album that’s helped shape you and what do you appreciate about it?

ADAM: I think that listening to Loveless for the first time really changed my view on how music can be made. I don’t think I was the same person after listening to it for the first time. I like how you feel like you’re falling slowly through the air and completely weightless.

DOM: Modern Lovers (S/T) was a big one. ‘Comedy’ in real music was something I hadn’t considered until I heard Jonathan Richman being a big dumb fool.

ATHINA: Betty Davis (1973). An unapologetic babe. 

ELOISE: Donny Hathaway’s Live 1972 – ridiculously energetic music, being able to hear the audience so clearly be a part of the music is so captivating.  

When and how did you come to pick up your instrument or use your voice?

ADAM: I started playing bass when I was in high school. I play guitar a bit too, but it didn’t speak to me as much. I used to de-tune my Dad’s old acoustic guitar and slap it to pretend I was flea at about 14, I think?

DOM: I did a lot of singing as a kid but when my voice broke I had an identity crisis, got disillusioned and ended up picking up the bass thinking it’d be easy… 

ATHINA: I actually can’t remember, but I was always obsessed with singing. I’ve never been very technical when it comes to instruments or vocal training even though I participated in a couple high school things. I always wrote and sang for catharsis. 

ELOISE: My older brother started learning electric guitar when I was a kid. As a younger sibling I think I got a bit jealous, and wanted to get better than him, so I did. Kind of sinister really. 

Why is it important to you personally to make music?

ADAM: It’s strange, the more I think about it the more I’m not actually sure. I know it’s because I love music. It’s holds so much significance for me, not only because of the sound itself but the communities that you form. But I have a bit of trouble putting my finger on where the exact compulsion stems from. Maybe it’s because of how significant it has been to my family? I’ve grown up for it to feel like home. 

DOM: I think sound as an art material is simply amazing. It’s got something to do with it being invisible yet physical and only describable through other senses (warm, bright, crunchy, smooth, etc.) Specifically with music, I really marvel at its capacity for defiance. Placing expression, sensation and presentness on a stage and collectivising people around an appreciation of those concepts is an incredibly powerful thing.

ATHINA: I also think it feels like home because of my upbringing. I don’t necessarily believe that I’m saving lives playing music. However, there is something very special about people coming together to dance, to share their sensitivities or their rage. To comment, question, find catharsis, or to escape. I don’t know what I’d do without it. 

ELOISE: I think for me it’s just one of those things that there is nothing I would rather do. I can never get sick of playing with music. 

 Where’d the band name come from?

We thought it was funny how trendy it had become in Melbourne – such a talking point for everyone suddenly. Phonetically it’s quite satisfying to say too. It’s quite silly. 

Photo by Jhonny Russell.

 We’re excited Gut Health are releasing debut EP Electric Party Chrome Girl; what’s the story behind the title?

ADAM: Myka once misheard some lyrics that were ‘electric, kind of home grown.’ We all just thought it was very funny and became a little in-joke for us. The song isn’t even on the EP hahaha

 How long have you been working on it?

DOM:Most of the songs were written in fits and bursts between lockdowns, with the recording happening mostly late last year. When we initially started recording, the aim was to make some demos just to hear ourselves back before the ‘real studio sesh’. We never ended up having the patience to do it all over again, plus the tracks didn’t sound so bad to begin with.

We’re premiering lead single ‘Inner Norm’; what’s it about?

ATHINA: Inner-Norm is a bit of a tongue-in-cheek, self-deprecating look at Naarm/Melbourne’s Inner North, observing how over time the self-identified ‘alternative’ residents begin to morph into what many northern resident’s proclaim as ‘normies’/normalcy. I’ve always struggled with the term ‘normie’ because it comes off as a little high-horse to me. 

I think a lot of us, particularly young people, find ourselves trying to navigate where we fit in, how we fit the ‘mould’. Humans are strange creatures, we often have a desire to categorise ourselves and others on a surface level. 

We love the song ‘Barbarella’ too; what inspired you to write it?

ATHINA: It is about Barbarella (1968), played by the icon Jane Fonda. Male gazey stuff aside, Jane Fonda is so sexy and I like to see her fighting evil while wearing amazing campy outfits. Maybe it’s a crush song to Jane Fonda, because she’s great, and her playing a superheroine just, like, tipped me over the edge. The song is based around the line in the script ‘Genius is Mysterious!’ 

The band self-recorded the EP in a storage facility in Brunswick; what do you remember most from recording?

DOM: We had a pretty small amount of equipment to record with so all the main elements were tracked pretty basic, but for some reason I went all out on the percussion day. I placed mics around the room in this huge stereo image, most of which was either summed to mono or just thrown out!

ADAM: I guess cause the storage units are all just concrete cubes, you can hear – in very intimate detail – every band’s sessions around us. There was a particular band right next to our room that was insanely loud. It seemed like they knew our calendar, and every time Dom and I went to do some of the more nitty gritty recording that required silence and concentration they decided it was a great time to start blasting their tracks. I really can’t emphasise more how loud it was. 

Photo by Jhonny Russell.

Simon Maisch from Bitumen, OV PAIN, Telekninet, EYESØRES mastered it; what made you want to work with Simon?

ADAM: Simon was recommended to us by our friend Ferg (Laughing Gear/Romero) when we were toying with who should mix it. It just made total sense – I love Bitumen so much and everything he has mixed and mastered comes out amazingly.

We first fell in love with you band when we saw you play a show while we were in Naarm at the start of the year. What’s the best and worst shows you’ve played and what made it so?

ADAM: I dunno about best or worst, but we once played this little doof/party over New Years in Torquay. We were planning on driving up with a fill in drummer George, as Myka wasn’t available, and had our gear packed and ready to go. After we had packed everything the next day and were about to leave, George messaged us saying they were a close contact so we were kinda just stuck with all our gear. We decided to drive up anyway with everything and see what happens and party regardless.

We ended up rocking up and the guy who was running it was trying to convince us to play anyway, and introduced us to this drummer Luke. I was pretty nervous and apprehensive of improvising, but we decided to agree to it anyway without ever having played music with this guy. It was a bit awkward at first when I met him, then we smoked a bit and had a big skate and threw ourselves around and bonded quite a bit.

We decided we were going to do a Pittsburgh show (short for The Pittsburgh Enlightenment Experience) the name is a whole different story, but the short of it is that me and some friends did an improv show once under that moniker at the Coburg RSL, we call improvised sets ‘Pittsburgh shows’ now. Anyway, the show went off, it was super fun and I think we all got closer from the experience. 

Playing at last week for Dr Sure / Bench Press recently was also a really fun time. We also had heaps of fun playing with Screensaver and Loose Fit – such a lovely and talented crew. 

What have you been listening to, reading or watching lately?

ADAM: I’ve been listening to a lot of DJ Screw recently. I can’t seem to stop, it’s hypnotising.

DOM: I’ve been obsessed with this polish no-wave band Atol Atol Atol. It sounds like someone live-dubbed the universe collapsing in on itself.

ATHINA: Last film I watched was The Worst Person in the World. I found Nina Hagen’s New York New York album when I was away, so whacky wild and fun! It was produced by Giorgio Moroder. 

ELOISE: I’m embarrassingly late to watching Squid Game. It’s great. I’ve been listening to a bit of Gang of Four this week as well. 

When not doing Gut Health-related things, what can we find you doing?

ATHINA: Making films, eating bagels, and watching Rocky Horror. 

ADAM: Playing RPGs and listening to Silmarillion audio books.

ELOISE:Probably in a pool, or in line to pay for a pastry and coffee that is a bit out of my budget. 

What should everyone know about Gut Health?

Buffest, most swol band in Melbourne. 

Pre-Order Gut Health’s Electric Party Chrome Girl EP from Marthouse Records. Follow @gut__health + Gut Health on Facebook.

Sydney Ethereal Experimental Bedroom Art-Pop romæo: “My music is exciting, its unexpected, its weird”

Original photo: Matt Sitas. Handmade collage by B.

We’ve fallen in love with romæo’s music—gorgeous shimmering electronics, lush sounds, dreamy melodies, hypnotic vocals and radio-ready hooks. Gimmie interviewed romæo to explore her world.

How did you first discover music?

ROMÆO: My parents are big music fans and always had the speakers blaring as I was growing up, so I was always singing along to a variety of artists. But the record that really made me want to be a musician was Missy Higgins’ The Sound of White. It came out when I was five and I was immediately sold – I started taking piano lessons and joined a choir.

When did you first start singing? We really love the harmonies and spoken word parts. Do you have any vocal inspirations?

R: Like I said, I was always singing along to the household high-rotation records. I still remember Sharon Jones’ Naturally and Nick Cave’s The Boatman’s Call back to front. I’ve struggled a lot with where I think my vocals sit and where I used to want them to be. I used to wish my voice was more powerful and mature, but as I’ve developed more confidence in my music, I’ve realised that I can do a lot with what I’ve got. My current vocal inspirations are Kacy Hill, Cecile Believe and Okay Kaya. They all deliver really vulnerable performances and aren’t trying to be anything they aren’t, and in that there is a lot of power. Their vocal melodies are also unusual and unexpected; I love when a melodic line continues further than you expect.

Your music is experimental bedroom art-pop; how did you first start making your own music?

R: I’ve been writing songs for a long time now, albeit most of them were iffy at best and a lot of them where much more indie singer-songwriter vibes. I started playing around with more electronic sounds over the last four years. I’ve always really loved pop but only really came across experimental pop in the last few years, so it’s been quite a recent thing in the grand scheme of things.

What’s your favourite instrument/piece of equipment to use right now when making your music?

R: I bought my first synth earlier this year – the Korg Minilogue XD (in white) so this has been a lot of fun, although every time I think I understand it something weird happens and I’m reminded I don’t.

So far you’ve put out a couple of releases and demos – monologue, revealed & iso demos; could you tell us a little about the progression of your work so far?

R: monologue details the period of time where I fell in love with ‘experimental pop’ and discovered my production potential. I’d always been afraid of trying to be a producer, and to be honest I still shy away from the term, but as I was working on those tracks I built up a lot of confidence. I guess I felt like I finally proved myself to myself. iso demos was thrown together in about a week right at the start of COVID-19. I’ve reconnected with the guitar after disowning it for a few years, so it was fun to combine that with my electronic production. Weirdly, I actually made revealed before any of the other stuff. I was really proud of this track and knew right away I wanted to ‘officially’ release it, so I’ve just been quietly sitting on it for about a year now.

I noticed on your bandcamp you’ve written “written/produced/mixed/mastered (lol)”; why the LOL? It sounds pretty fucking awesome to us!

R: Aaaaa you’re making be blush!!! I guess I’m just giving myself an out in case people think it doesn’t sound too good LOL. Confidence is a slow burn, but we’re getting there.

In November last year you were talking about the first EP you released and mentioned “I’m excited to finally have some faith in myself and my music, albeit unsteady and unreliable”; what changed for you to finally have faith in yourself and what you’re doing?

R: Hmm… I think what I finally realised is that what I’m making is solely my own. I think my music is exciting, its unexpected, its weird – it doesn’t sound quite like anything else. And that is what I look for when discovering new artists. So I kind of shifted my priorities and expectations. My music doesn’t have to be perfect or pristine, it just has to excite me. I still have to remind myself of that constantly though.

When you wrote song “don’t be so hard on yourself” was that a kind of note to self?

R: Oh gosh yes. That song is quite funny, because I listen to it and go ‘yikes that doesn’t sound too good’ but that is the whole point right!! I also laugh at myself for saying “don’t be so hard on yourself/be so hard on yourself”. I know I need to ease off on myself, but personal criticism is such a hard habit to break and can sometimes be valuable. This song was basically my Self pleading to my ego; pleading to be freed in a sense… for these two opposing forces I hear within me to make peace.

Your lyrics are very thoughtful and really honest; are you ever afraid to put yourself out there via your lyrics?

R: Definitely. I do have some unheard songs where I’m like ‘this could be a bit brutal’ for people who actually know me to hear lol. In terms of releasing stuff, I guess I’m conscious of coming off a bit ‘sad girl-y’ and being almost absurdly direct in my lyrics, but I don’t really know any other way. I can be very upfront in person so it is pretty natural for me. I also laugh at my own melodrama and don’t expect it to all be taken too seriously.

Has there been a song that’s been hard for you to write? Why?

R: revealed was actually really challenging to write. I wrote and recorded the first verse and then had no idea how to develop the idea / where to take it or what I even wanted from the song. I basically sat on it for a couple of months and hated everything I tried. Then finally one session, the chorus and bridge just flew out and came together almost insanely quickly. I think the best songs are the ones you can’t even remember writing; they just happen.

Musicians Paul Mac and Rainbow Chan have given you a little guidance with what you’re doing; what’s something you learnt from both of them?

R: Paul and Rainbow are so inspiring for soooo many reasons. What I admire about both of them is their versatility as both musicians and creative, artistic people. They each apply their skills to a variety of different artistic endeavours and kill it every time. Paul helped me learn how to make cool/wacky beats that are both disorienting but also keep the listener engaged. Rainbow has helped me realise how much you can do without overloading a song with different tracks and sounds. As in, we always want to over complicate and add different elements and ‘sparkles’ to a song, but you can also manipulate the same sound in so many different and weirdly wonderful ways. Sometimes less is more.

You use flowers in your artwork; what’s the idea behind that? What do they symbolise to you?

R: Flowers are the ultimate symbol of traditional femininity. Delicate and beautiful, they also allude to female genitalia. Flowers come in all different varietals, all of which are precious. I really struggle with how women in the media must brand themselves. We have to be bold and fierce, or soft and gentle. We are either sexually liberated or innocent and pacificist. But we are all these things, and none of them.

Have you been reading anything interesting, enthralling or great lately?

R: I was enthralled by Murakami’s Colourless Tsukuru Tazaki and His Years of Pilgrimage the other week. His writing is of course stunning – it is as simple or philosophical as you wish, and he hits you with the occasional deep cut. When discussing the unity of heart in relationships, Murakami notes “they are.. linked deeply through their wounds. Pain linked to pain, fragility to fragility”. That hurt.

I’ve also just started my honours thesis on music philosophy, so I’ve been reading a lot about music’s relationship to consciousness and time. Interesting, enthralling and great, it also is an absolute killer.

What’s a song that never ceases to make you happy/cheer you up when you hear it?

R: “Young Hearts Run Free” [by Candi Staton].

What are you working on next?

R: I’m gearing up to release my second ‘official’ single soon which is super exciting. I’m sitting on a number of tracks that I might throw together in a mixtape soon-ish. I’m a master procrastinator and perfectionist, but I think it will be sort of liberating to get these songs out there. It is really hard to stay creative and inspired right now, so I’ve really just been enjoying listening to music and playing around with little ideas. Who knows what’s next!

Please check out romæo; romæo on Facebook; romæo on Instagram.

Chicago Musician NNAMDÏ: “Everyone should use their skills in order to help people”

Original photo by Jess Myers. Handmade collage by B.

Chicago musician NNAMDÏ dropped two powerful releases in the last few months. The latest being EP Black Plight – which raised over $10,000 for not-for-profit organizations and And the other being LP, BRAT (released in April), an exploration of needs and wants as a human being and of reaffirming life purpose that brings you joy while helping others. Both are timely releases, both just might have you taking a look at your own place in the world and remind you to ask; how I can help those in a place with less privilege? Good art engages and entertains; great art changes you—NNAMDÏ’s genre-bending, breaking and blurring songs – fusing math-rock, hip hop, pop, R&B and more – definitely did this for us.

How are you?

NNAMDÏ: I’m doing OK, Bianca. I just got home, I was at this food drive and we were giving out meals and food to people.

That’s wonderful, I love how there has been so many positive things happening in the community of late, it’s been a rough, crazy time.

NNAMDÏ: It is a crazy time. It’s really been putting into perspective the things that are important. During all this community building, donating groceries is important, especially now, so many people are suffering and can’t go to work or haven’t gone to work for a long time, it’s intense. It got me thinking, there’s always people going through it, this community building energy needs to continue even after all of this. I’m really trying to check myself so I keep the momentum going after things start to look up in the future.

You’ve mentioned that lately you’ve been learning a lot and seeing a lot of community building and positivity amidst all the turmoil that’s been happening right now; what are some of the things that you’ve been learning?

NNAMDÏ: I feel like I’ve always been for the reform of law enforcement… when you grow up in it, I think a lot of people have ingrained in their brain that it just is the way it is, which is not a great way to live. I’m learning from people that have always been pro community based programs and teaching. Especially in Chicago, there’s a lot of conflicting views where the money goes towards police departments, almost half of the city’s budget is spent towards police. There was couple of years ago where they were planning on building a $90 million cop academy and everyone that I met were against it. There’s been a lot of people in Chicago that are police and law enforcement abolitionist so I’m just learning from that; it’s always been a part of my mindset but I was never actively involved. I’m trying to learn from people that have been doing it for a long time.

Last week you released the ‘Black Plight’ EP with sales raising $10,297.78 with proceeds split between eatChicago and Assata’s Daughters and 2K of the total going directly to people in the community that are in immediate need of food and housing assistance; why was it important for you to make this EP now?

NNAMDÏ: There’s a lot of anxiety going on in my mind and it was forming into physical stomach aches, everything has been piling on for a lot of people this year and like most people, I just didn’t know how to handle it. I feel like it just needed to be done, I forced myself to finish it the week that all the shit went down. I’d gone to one protest but I get a lot of anxiety in those situations. I felt this was my best opportunity to use the skills that I have to help anyone. It felt really important so I pushed myself, I went pretty deep down the rabbit hole trying to finish this; it was going to be five songs but I realised that wasn’t going to happen. I did what I could and made sure it got my point across. I think everyone should use their skills in order to help people, music is one skill that I have.

I can relate with getting anxiety when going to protests. I used to go to them all the time but it started to get so overwhelming for me to the point of panic attacks.

NNAMDÏ: It’s wild to me that so many people can just chill in that situation, there’s so many different sounds, especially in something like this protesting violence; there’s horns and people on megaphones and people honking and chanting. It’s very intense. At any moment I’d look around and be like; is this person yelling a chant or are they yelling at some other person? Or is this person honking because they’re in agreement with what’s going on or are they honking ‘cause they’re mad at something? Also, just being engulfed in a huge crowd of people is never something I’ve really been into.

Same! Was there any significance in having the first song ‘My Life’ on the EP kick off with a drumroll?

NNAMDÏ: No. Musically it just happened how it happened honestly. It all just came together. I didn’t really put that much thought into how the music was being placed or where things were going, I just did exactly what felt right to me and felt like it needed to sound like. It’s very much a projection of emotions felt at that point in time.

Last week was also your 30th birthday, Happy Birthday! What did turning 30 mean to you? Did you get reflective?

NNAMDÏ: Aww thank you! I feel like I was too distracted with everything going on in the world to care. A lot of people think of 30 as this crazy benchmark but it never really felt that way to me. It never really felt old to me. People are like, oh thirty is over the hill; but it’s never really felt that way to me at all. It’s such a crazy thing for people to think. I feel like the situation that a lot of people are in made me realise that I have it really good, I live in a comfortable house and can afford groceries. There was no room for any sort of conflict or crisis because I feel I’ve lived a very privileged life compared to a lot of people that are doing a lot worse off than I am right now. It feels the same being 30 [laughs].

I had a “milestone” birthday last year and I didn’t feel any different either, I’ve been doing all I do, things like doing interviews and making zines for over 25 years since I was fifteen and now I just feel like I do everything better than I ever have and I have a better perspective on the world and things; you can totally rule things at any age.

NNAMDÏ: Yeah, you’re kind of settled into most of the things that you’re into, there’s always room for surprises and improvement but, I feel like most people should be comfortable with themselves by this point, hopefully. Luckily I think I’ve reached that point a few years back.

Speaking of surprises, that’s something I love about your music – I love listening on headphones so I can hear everything that’s going on – there’s always so many surprises in your songs and I never know where it’s gonna go! It’s exciting.

NNAMDÏ: Thank you.

What is the importance of music and art in your life?

NNAMDÏ: It’s the most important thing, it’s pretty much all that I think about [laughs]. It’s so interesting just getting into people’s brain and witnessing the world through other people’s eyes and you can present things in whatever way you want—it’s a maximum expansion of people’s imagination and emotions. It teaches people in a way that is very different from what we learn in school and through teachers. It teaches people a different emotional connection and appreciation for humanity. It’s engulfed in everything that I think about [laughs]. It’s pretty much everything to me.

Totally! I know the feeling. Did you have a moment when you realised music is what you were meant to be doing with your life?

NNAMDÏ: Yeah, I still think I’m having that moment [laughs]. I feel anything involving entertainment, I wanted to be a comedian or actor when I was little – I still do – music has been the medium that has allowed me to express myself in the broadest form. I get real silly with it a lot, I can get real serious with it, I can also make happy fun songs. It’s allowed me to most comfortably express myself and a range that I wasn’t able to do through any other medium. It’s definitely something that I’m going to do until I can’t do it anymore.

Yay! That makes me so happy. You’ve mentioned that putting out your latest album BRAT was very therapeutic for you; how so?

NNAMDÏ: A lot of it has to do with the way I was thinking as I was going through the recording process and learning what’s really important to me. If I had to stop everything, if I couldn’t do music anymore; what’s important to me? Interestingly enough, I feel a lot of musicians are feeling that because of the [Corona]virus and not being able to tour, they have to really focus on; what will I do if I’m not working? What is the thing that actually brings me joy outside of what I have to do all of the time? It’s a lot about that. Also, realising that making art is not a selfish pursuit, even though it can feel like it when you have bigger problems in the world, it doesn’t feel like as an immediate solution. I feel like I’m constantly reminded of how important it is. It always shows itself in a different way like—no, this is important! Even after I put on the EP I’m like, OK, art is important! I don’t really need a reminder anymore but I feel any empathic artist goes through that, where they’re like; am I doing enough? Is this just gassing myself up? Does this mean anything to anyone else or am I just doing it because I want to do it? Both are important, you should do things that you want to do and do things for other people. That was a lot of what I was thinking while making this album and it helped me realise what else is important in my life. Things like making time for people that make time for me was a big thing on that record and doing whatever was in my ability to reach people.

BRAT has such a cool flow to it; how did you go about arranging the run order? Did it take you a while?

NNAMDÏ: It didn’t really take a while. The order just falls into place once there’s chunks of songs written. It wasn’t really a task it was more fun, like a Sudoku puzzle [laughs]. I feel like that’s such an important part of records, the flow of it, you can have all great songs and you can put it in a different order to have a different effect. It’s very important.

I love how with your album if you listen closely you realise that each songs is connected to the next whether in theme or sounds etc. It takes you through all these emotions and unfolds, it’s kind of like a movie in a way.

NNAMDÏ: Yeah, thank you.

In regards to BRAT I’ve read that you were stubborn in some of your decisions regarding it; what were they?

NNAMDÏ: I think I’m just stubborn in general when I’m working on my own music, that’s part of the reason I make solo music. I was in a bunch of bands for so long, and I always need an outlet to be solely in control of everything. This was the first record that I mixed with someone else, I mixed it with my bandmate – I play in this band Monobody – he has a studio, it’s where we recorded everything. I think there was a couple of moments where he wanted me to re-record a couple of things and sometimes I was like, no, we’re just going to keep it like that. Other times I was like, he’s absolutely right! I could do this better. I wasn’t stubborn the whole time [laughs] but I think it’s important to be stubborn with your art sometimes. I feel like a lot of people start a project with a specific intention in mind and then the more people they add to the mix the less their original intention shines through. I never want that to happen!

I wanted to ask you about the song ‘Really Don’t’, at the time of writing that you’ve said that you weren’t feeling that great; what was getting you down?

NNAMDÏ: [Laughs] Everything about life. Shit is hard and sad and things are fucked up a whole lot. Sometimes things feel out of your control. It was one of those times that I was in a dark place and I was letting my thoughts get the best of me.

Following that track there’s the song ‘It’s OK’ and its theme is that, it’s OK not to feel OK. That’s something I feel is important to talk about, ‘cause often people feel that they have to be happy all the time. When you are feeling down; what are the things that help you?

NNAMDÏ: Music a lot! Lately though it’s been less music and more funny shows, I watch a lot of Netflix shows, that’s been what cheers me up lately. I’m really into comedy. The beautiful thihng about comedy is that a lot of it comes from pain [laughs]. I feel that’s a good way to escape if you’re feeling down, because you can see the humour in your situation even if it’s not a humorous situation.

Where did the name of your album BRAT come from?

NNAMDÏ: It came from my brain! [laughs]. It wasn’t the original name, it wasn’t the first name that I thought of. As the songs progressed I realised that more and more songs were talking about my wants and my needs as a human… that’s where the humour comes in, I was like, all these songs are about me, me, me! I’m gonna call it BRAT [laughs].

What was the idea behind the cover image?

NNAMDÏ: That was another thing that came pretty quickly, it was the first image that came into my head when I thought of the name BRAT, me wearing a tiara on a blue background. That stuck with me through the recording of the whole album. Sometimes I’ll have an idea and it will evolve over time, it’ll be like, maybe the first idea wasn’t great but I think it’s really cool when an idea stays with you the whole time, then it’s like this is what it definitely needs to be!

One of my favourite tracks on the album is ‘Semantics’. I love how that song really builds. There’s a line in the song: fuck the world in every language…

NNAMDÏ: Yeah [laughs]. That song is like a giant puzzle. I tried to make a bunch of lines that could be perceived in different ways like, I remember I did the full line where it could mean something completely different, every syllable. It will be interesting to explain one day, maybe someone will go and digest it and be nerdy and figure out some of those lines.

You’ve set me a challenge now!

NNAMDÏ: [Laughs] Oh yeah!

Do you have a favourite track right now?

NNAMDÏ: Honestly, I like them all. I feel like they all stand on their own. The only song that isn’t meant to be a song by itself is ‘Really Don’t’. ‘Really Don’t’ without ‘It’s OK’ is complete insanity. It’s so depressing beyond the point of redemption which is not something I want to put out in the world but, the two of them together is a good combination.

Do you write songs or do something creative every day?

NNAMDÏ: Yeah, more or less. I would say I do two days of being creative and then one lazy day [laughs].

Do you find when you’re trying to have a lazy day that your brain is still thinking of creative things?

NNAMDÏ: Oh, yeah. My thoughts don’t stop. I’m still always taking notes and will write little things down, so it never really stops. I guess sometimes it’s just me trying to actively do a song.

I wanted to end by asking you a question that you asked people online not too long ago; comment one thing you’re grateful for?

NNAMDÏ: I’m really grateful for health, being healthy is a big blessings. I’m grateful for people. I feel like there’s so many beautiful people that have beautiful minds. I feel like we can do anything if we really try and that’s pretty amazing!

Please check out: NNAMDÏ bandcamp to get Black Plight EP and BRAT LP via Sooper Records. NNAMDÏ on Facebook. NNAMDÏ on Instagram.