Tove Lo

BROODS Take Experimental Approach to Processing Heartbreak on Space Island LP

Georgia and Caleb Nott of Kiwi brother/sister duo BROODS have crafted their most conceptual, atmospheric album to date with Space Island. Their fourth album is chock-full of heartbreak-on-the-dancefloor beats, bass and confessional lyrics, with the compositions dipping into artsy, experimental arrangements and the epic, compelling schlock sci-fi of ‘60s cult movies.

“This album really has brought us together in a way that we just haven’t really tapped into until now. Partly [it’s] because of the time we’ve had during the pandemic, and how much we’ve grown as people outside of music,” says Georgia Nott. “Because we had all this time, we sat in the world of Space Island together and collectively dreamed it up… we let it appear around us just by talking about it, dreaming about it and listening to records that we thought were like Space Island.”

Nott is living with her brother and her partner (producer, composer and multi-instrumentalist Noah Beresin) by the ocean in Piha Beach, New Zealand, pending a return to her second home of Los Angeles, aligning with BROODS’ May tour of the US. She is quick to respond when asked where she’d ultimately like to reside.

“Nowhere!” the flame-red haired singer-songwriter exclaims with a full-throated laugh. “LA has been a pretty inspiring place to live, be it difficult at times. It’s taught me a lot about what I’m capable of and what is possible. There’s so much pushing of the boundaries there, which is fun to see then test out yourself. Whenever I come back to New Zealand, I’m really inspired by nature. Piha is so beautiful and that brings out a whole other side of my songwriting and I just want to sing about the ocean all the time.”

But, she adds, she is at her most inspired and productive when unmoored. “I really have loved having a bit of time over the last couple of years that’s been this forced nesting period, but at the same time, I like to flop around and float around because of how it makes me feel. I write a lot when I’m focusing on living my life and not making my music. Travelling is what’s really inspiring to me and as long as I’ve got the guitar, then I’m good to go… Once I’ve racked up a bunch of songs that’s when I’ll sit with them and make it into a record.”

Originally from Nelson, New Zealand, the Nott siblings are not strangers to US audiences: they’ve collaborated with Tove Lo; toured with Taylor Swift and HAIM; and performed at both Coachella and Lollapalooza. Debuting in 2014 with a self-titled EP, followed by their first album Evergreen the same year and their second album Conscious two years later, ten New Zealand Music Awards had already confirmed their homeland popularity. Their 2019 album Don’t Feed the Pop Monster lead to appearances on Late Night with Seth Meyers and The Late Late Show with James Cordon. But Space Island firmly asserts them as an act that can stand alone, unshadowed by celebrity tourmates, TV hosts and festival gloss.

Notably, this is the first of their albums in which the Nott siblings haven’t worked with producer Joel Little, but they remain close friends with the Los Angeles-based producer. “We started to make different music to what we made before and he was making different music. I think it’s important to switch up collaborators; it helps you to broaden your knowledge and new people inspire new things out of you,” Georgia explains. “He was obviously a massive, massive part of our first two albums… he’s still a massive part of our lives.”

Like some of the greatest pop and rock albums, the glamorous, epic, theatrical fabulosity of sound and mood blossomed from grief. Not long after the release of Don’t Feed the Pop Monster, Georgia and her then-husband divorced. Creating music that was strange, expansive, otherwordly and transportive enabled her an escape valve from all the feelings. Inevitably though, the threads of memory and all the dreams of forever that ended with her previous relationship weaved their way through her lyrics.

“When I first experienced the breakup that this album was about, it was like an explosion, then a crash. Through that crashing period, I had really good friends and amazing support. I started dating this person that was really, really emotionally intelligent and had all these perfect soundbites to help me quickly gain perspective and stop judging myself… that made me able to write the album that we wrote,” she says. Beresin ultimately had a hand in producing Space Island, having worked on ”Gaslight,” “Alien,” “Like A Woman,” and “Days Are Passing.”

Ensconced in their home studio – complete with Caleb’s newly purchased Farfisa organ – the duo mostly worked alone bar occasional collaborations with producer friends Leroy Clampit (Ashe, FLETCHER) and Stint (Santigold, Carly Rae Jepsen). Tove Lo adds vocals to “I Keep,” a song that stemmed from Georgia’s vision of a moth flying into a porch light, burning to death, being reborn, and repeating the process every night. Whether it’s a romantic relationship, a job you despise, a toxic friend, a family relationship or an addiction, it’s a rare human who can’t relate to the sense of repeating cycles of behaviour that corrode our spirits until we’re spun off course by force or circumstance.

If that song bears witness to the darkest elements of the psyche, then “If You Fall In Love” is the first cloudless, sun-drenched spring day that emerges after a long, devastating winter. It is all summery, soft-pad synths, waves of lush dream bubbles blown into the ether. Georgia’s delicate, dusky vocals float through the interplay of synths as organically as air, water and light co-existing.

The crackle of dust on vinyl opens “Goodbye World, Hello Space Island” – a chilled out, slow-trip, downtempo house mood transitioning seamlessly into “Piece Of My Mind,” redolent with spacegun sound effects, fervent energy and restless beats. Georgia’s vocals sound like they’re being warped in from a distant planet, spectral and beautiful.

Nott candidly confesses that given free reign, she’d exist in the world of sad, grief-infused guitar pop. But make no mistake: Space Island does not wallow in any mires. Caleb’s internal radar for bass-and-beats provides ample counter to his sister’s downtempo leanings.

“Songs like ‘Distance and Drugs’ are very Caleb; they are his brain in song form. Songs like ‘Heartbreak’ [are very much about] his basslines and visceral beats. He really wants to feel it,” she says. “The one that feels most like me is ‘Gaslight.’ When I’m left to my own devices that’s the kind of music that I churn out – sad-ass guitar songs with lots of lush harmonies. That song, it still makes me feel a lot right in the pit of my stomach. When we practice it, I just want to cry. That’s how I know that it’s so important, to me, anyway.”

Nott has been immersing herself in regular sessions with her Perth-based psychological-somatic therapist. It has made a world of difference in her ability to articulate her feelings and to feel confident enough emotionally to reveal herself through this album. There has never been a point though, albums or not, where she hasn’t been documenting her observations and ideas. “I’m always writing on my own, whether or not we’re going through that whole studio album process,” she says. “For me, I like to keep writing through it because it’s my way of processing my whole life.”

The music industry, Nott admits, can be “fucked up” sometimes, tossing humans around like bits of seaweed in a tsunami. Going to therapy, doing bodywork, having a good, noisy cry and very open, honest conversations with her brother, her partner and her friends have all given her a sense of security the past few years.

“This album has been such a cathartic experience because we’ve learned to get the support that we need as individuals to carry on sharing really personal things and giving your soul up to people every time you release an album. It’s intense and it’s taxing sometimes and it’s really important when things get busy to know that there’s support there,” she says. “The pandemic has been really, really hard but it’s made a lot of things that wouldn’t otherwise come to the forefront, surface. Even though it’s been pretty full on… I feel like I haven’t lost any of my openness or my sensitivity.”

The lovely, sweet sonic pulse of “Heartbreak” revels in her sensitive, open suggestion: “Let your heart break,” she sings. “Gives an opportunity to get your feelings straight.”

The song was the sad dance music equivalent of a howling exorcism of grief. “’Heartbreak’ is about reminding myself that holding it in is really, really toxic and it does not make that feeling go away, it just makes it ferment into this poison that becomes even more painful when you have to deal with it later,” she says. “A lot of women have trauma held in their bodies. I don’t know what it’s like to be a man – maybe they do too.”

No promises then, but a visit to Space Island might be the cathartic, bass-driven, dancefloor therapy we all need right now.

Follow BROODS on Instagram and Facebook for ongoing updates.

HIGH NOTES: 10 Female Artists Who Reference Drugs in Their Music

When you hear the phrase “sex, drugs, and rock and roll,” you usually picture male musicians: Lou Reed croaking out the words to “Heroin” or “Waiting For My Man;” The Weeknd’s famously numb face; Kurt Cobain finding God in “Lithium;” The Beatles on LSD; Neil Young’s coke booger immortalized in The Last Waltz.

Stereotypes about drug users aren’t flattering to any gender, but female celebrities are held to especially high standards of behavior, with sex, drugs, and other supposedly hedonistic behaviors deemed “unladylike.” Maybe that’s why more women seem to avoid drug references—and why those who make them convey a special brand of “IDGAF.” Being unladylike, after all, is part of many artists’ images. Here are some women who have changed the public’s perception of women and drugs through drug references.

HALSEY

Halsey sprinkles drug references throughout her songs, which looks like a way of solidifying her image as a rebellious woman, until you realize few of them actually describe her taking drugs. “Are you high enough without the Mary Jane like me?” she sings in “Gasoline,” inspiring a remix by K.A.A.N. titled “Mary Jane.” In “Hurricane,” she sings of someone who “tripped on LSD, and I found myself reminded to keep you far away from me.” “Colors” centers on another toxic person: “You’re only happy when your sorry head is filled with dope.”

These songs may tell an anti-drug message, but in “New Americana,” she sings, “We are the new Americana, high on legal marijuana.” Confirming that “we” includes her, she said at the 2016 VMAs, “I smoke a lot of weed.” Altogether, her songs give an (accurate) picture of drugs as potentially both positive and destructive.

MILEY CYRUS

The opening lines of Miley Cyrus & Her Dead Petz are pretty telling: “Yeah I smoke pot, yeah I love peace, but I don’t give a fuck, I ain’t no hippy,” she sings on “Dooo It!” and that’s only the beginning of an album littered with drug references. A year prior to its release, she sang about dancing with either “Miley” or “Molly,” depending on “if you know,” prompting headlines like “Miley Cyrus sings about molly again; experts warn of its dangers” and “Demi Lovato warns pal Miley Cyrus of the dangers of drugs after star confirms MDMA reference.”

But Miley’s not ashamed of her drug use. “I think weed is the best drug on earth,” she said in a Rolling Stone interview. “One time I smoked a joint with peyote in it, and I saw a wolf howling at the moon. Hollywood is a coke town, but weed is so much better. And molly, too. Those are happy drugs – social drugs. They make you want to be with friends.”

She did, however, announce last spring that she’d stopped using alcohol and drugs. “I haven’t smoked weed in three weeks, which is the longest I’ve ever [fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][gone without it],” she told Billboard. “I’m not doing drugs, I’m not drinking, I’m completely clean right now! That was just something that I wanted to do.” Her reason? “I like to surround myself with people that make me want to get better, more evolved, open. And I was noticing, it’s not the people that are stoned.” Halsey might beg to differ.

RIHANNA

Rihanna’s “We Found Love” video is believed to be an ode to the relationship-healing powers of MDMA, with montages of pills, raves, and expanding pupils as she and a male actor rekindle a dying love, though she then appears to leave him after they crash back to reality. The lyric “yellow diamonds” is thought to refer to the drug. But mostly, Rihanna’s a proud stoner, singing in “James Joint,” “I’d rather be smoking weed whenever we breathe.”

NICKI MINAJ

From raving about a guy who “might sell coke” in “Super Bass” to saying she’s “high as hell, I only took a half a pill” in “Anaconda,” drug use is one of the many things Nicki Minaj is unapologetic about. She also establishes herself as defying conventions of femininity by dropping sports references in her songs. (Billboard counted 42.)

MADONNA

With music embracing female sexuality and celebrating clubbing as a way to lose your inhibitions, Madonna created a new archetype of femininity. MDMA was such a central part of this image, she named an album (and a skincare line) MDNA. But when she tried to speak to a younger generation of drug users, it backfired. “Have you seen molly?” she asked a crowd at Ultra, eliciting criticism from Deadmau5 and Paul van Dyk. In response, she claimed she was simply referencing a Cedric Gervais song, tweeting, “I don’t support drug use and I never have.” One notable exception: urging a lover to “get unconscious” in 1994 hit “Bedtime Story,” which she promoted with a pretty trippy video.

JENNY LEWIS

Like most of Jenny Lewis’s music, her drug references paint depressing images. In “Rabbit Fur Coat,” she sings of her estranged mother, “She was living in her car, I was living on the road, and I hear she’s putting that stuff up her nose.” In the eponymous track for her first solo album, “Acid Tongue,” she sings, “I’ve been down to Dixie and dropped acid on my tongue, tripped upon the land ’til enough was enough.” But drugs seem to be a thing of the past for Lewis. Later in the song, she sings, “To be lonely is a habit like smoking or taking drugs, and I’ve quit them both, but man, was it rough.”

JANIS JOPLIN

Long before Halsey or Miley Cyrus, perhaps the OG of female stoner artists was Janis Joplin, whose ode to marijuana, “Mary Jane,” is somewhere between a celebration of the drug’s benefits and a confession of addiction. “I spend my money all on Mary Jane,” she sang. “Now I walk in the street now lookin’ for a friend, one that can lend me some change, and he never questions my reason why ’cause he too loves Mary Jane.” Of course, she would later lose her life to another addiction, dying of an accidental heroin overdose.

AMY WINEHOUSE

Aside from publicly refusing to go to rehab, Winehouse referenced her drug habits in lyrics like “I’d rather have myself and smoke my homegrown” in “Addicted” and “You love blow, and I love puff” in “Back to Back.”

In 2007, she told Rolling Stone that the change in her musical style from jazz to R&B reflected a change in her drug of choice from weed to alcohol. “I used to smoke a lot of weed,” she said. “I suppose if you have an addictive personality then you go from one poison to the other. The whole weed mentality is very hip-hop, and when I made my first record, all I was listening to was hip-hop and jazz. The weed mentality is very defensive, very much like, ‘Fuck you, you don’t know me.’ Whereas the drinking mentality is very ‘Woe is me, oh, I love you, I’m gonna lie in the road for you, I don’t even care if you never even look my way, I’m always gonna love you.'”

ELLA FITZGERALD

Drugs were a central part of 1930s jazz culture, and Fitzgerald was no exception. In “When I Get Low I Get High,” she sang about numbing her pain with drugs, and a few years later, she got more explicit in “Wacky Dust,” a song about a substance that “gives your feet a feeling so breezy” and “brings a dancing jag”—presumably, cocaine. It ends on a less celebratory note, though, warning listeners that “it’s something you can’t trust, and in the end, the rhythm will stop. When it does, then you’ll drop from happy wacky dust.”

“I can’t lie,” Tove Lo told BBC of “Habits (Stay High),” whose video features her downing drink after drink at a club (and whose lyrics reference the munchies). “What I’m singing about is my life. It’s the truth. I’ve had moments where that [drug-taking] has been a bigger part than it should be. It’s hard to admit to, and I could filter it or find another metaphor for it — but it doesn’t feel right to me.”

“There are so many dudes singing about the same subject,” she elaborated to Untitled. “I wonder if they get the same question or is it because I’m a girl that people ask me, ‘Don’t you feel like you have a responsibility to be a role model?’ And I think: do I have that [responsibility] more than dudes because I’m a girl and I sing pop? I think there’s a kind of denial on how much drugs are a part of people’s lives.”

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NEWS ROUNDUP: RIP Tom Petty, The Las Vegas Tragedy & More

RIP Tom Petty

The well-loved songwriter passed away on Monday after suffering from cardiac arrest. He was 66, and less than a week before, gave a final interview where he discussed his recent 40th anniversary tour with The Heartbreakers, a new band he was producing, and more (read the full interview via the LA Times). Many musicians who cited him as a huge influence paid tribute to Petty, including Father John Misty, Fleet Foxes, Miley Cyrus, Wilco, Kesha, Emmylou Harris, and more.
Shooter Opens Fire on Country Music Festival in Vegas
On Sunday night, as Jason Aldean played the last few songs of his headlining gig at Las Vegas’s Route 91 Harvest Festival, a shooter opened fire from a suite at Mandalay Bay (located across the street), killing some 58 country music fans and injuring hundreds more before ending his own life. While the incident is still being investigated, the debate on gun control rages on, and many have pointed out country music’s glorification of gun culture. Some stars have spoken out despite the genre’s tendency to stay silent on political topics. Caleb Keeter of the Josh Abbott Band (which performed at the Fest earlier that afternoon), posted a heartfelt statement on his changing views surrounding gun control, while Maren Morris released “Dear Hate” the day after the shooting to benefit victims.
Other Highlights

Happy World Guitar Day, watch St. Vincent on The Late Show, Marilyn Manson was injured during his NYC show, the Needle Drop guy is very problematic, new videos from The Breeders and Tove Lo, Billy Corgan’s Ogilala is out now, updates to Oakland’s Ghost Ship case, Other Music will be replaced by a juice store, and read this: “Should Women Make Their Own Pop Music Canon?“

https://www.youtube.com/watch?v=jz2EbH3xO_8&feature=youtu.be

BEST OF 2014: Songs For Rebellious Girls

In 2014, strange days have found us. I toyed with the idea of creating a Best of 2014 playlist for sad chicks, but then was all, “Cut the crap Sophie.” If you’ve gone out and gotten laid rather than cried after a break-up, if you don’t have an office job and are poor but happier for it, and if you’ve decided to make friends with the voices inside your head, these songs are for you.

The majority of the artists involved in this list are chicks, but not for the sake of grouping vaginas together, in this, dare I say, male-dominated industry perhaps I’m just being rebellious.

10. Perfect Pussy “Interference Fits”

Perfect Pussy’s “Interference Fits” is so wham, bam, thank you m’am perfect for the anthem to rebellious women everywhere I could embed this track ten times on this page and we’d be good to go. Setting aside the fact that simply with a name the Syracuse noise-punk band forced an array of bloggers still scared of the word “pussy” to get over it, no song captures the tumultuous inner-dialogue of the nearing-30 years than “Interference Fits.” “Since when do we say yes to love?” questions Meredith Graves, in a hard to make out (and empathetically, a hard to figure out) inner female dialogue.

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9. Banks – “Goddess”

The title tune off Jillian Banks’ debut studio album, “Goddess” ebbs and flows with such beautiful scolding you could die to it. “She’s a goddess, you never got this.” The scorned lover thing has been done of course, as Banks seems warily aware of based on the traces of boredom found in her voice. If you close your eyes and allow the lyrics to dissipate the song is rather seductive in nature, like what a praying mantis would put on to make love to before biting her mate’s head off.

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8. Copeland feat. Actress – “Advice to Young Girls”

“Pretend to go to sleep, while your parents argue in the kitchen. Put on some makeup and dress up, you sneak out of the window…” encourages Hype Williams’ Inga Copeland off her new LP Because I’m Worth It. “The city is yours” she promises on this disjointed spiny track. A desolate ravaged urban future is imagined, perhaps one we’re already living in, awaiting the rise of our heroines from the ashes.

7. Bets – “Don’t Give A Fuck”

This delightful tune off of BETS upcoming 2015 debut LP Days, Hours, Nights had the honor of being our very own Track of the Week. Brooklyn’s own, she makes warning about potentially sociopathic tendencies (“Everybody knows, I never fall in love”) seem down right adorable. I said it once and I’ll say it again, not giving a fuck is a crucial part of the path to enlightenment.

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6.FKA twigs – “Two Weeks”

The best word I can think to describe FKA twigs is mesmerizing. If the year 2014 means we’ve made it to the future, she is our poster child. The self-proclaimed ex “Video Girl” evolved into an icon this year, different in a manner that challenges the current pop star quo but rings true to FKA twigs. Her weirdness never seems staged, yet more of like she’s been this way all along and now only letting in an audience. See: This Queen of the Damned-themed video. A virtual high five for the lyrics “Motherfucker get your mouth open know your mine.”

5. Pharmakon – “Bestial Burden”

A little more noise, please! In this tense, minimalist, creepy track Margaret Chardiet entices and bewitches, keeping you looking over your shoulder for a looming attack that never comes. Like a great horror flick, the art of the title track of Bestial Burden lies in the anticipation rather than the reveal.

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4. Azealia Banks – “Heavy Metal And Reflective”

What is rebellion if not controversial? Azealia Banks silently dropped the anticipated Broke With Expensive Taste with slurs, beef, and tears, but in a landscape of processed foods she remains apologetically, perhaps brutally, raw. The forever banger “212” continues to be hard to live up to but “Heavy Metal And Reflective” sure gets me going.

3. Tove Lo – “Habits (Stay High)”

There’s two paths one can go down after a break up, crying in bed watching sappy chick flicks with a pint of ice cream, or getting fucked up and fucked. Well, I suppose one could responsibly process their emotions and exhibit gratitude for their time spent with their respected ex-partner before accepting life has taken them down different roads, but what are we, adults? (Editor’s note: This song was originally released in 2013 as a single off the Swedish darling’s debut 2014 album Truth Serum but the sleeper took a bit to blow up). This song’s the one we can all sing along to, and you know I’d have to include anything with the lyrics “I eat my dinner in my bathtub/Then I go to sex clubs watching freaky people gettin’ it on.”

2. White Lung – “Face Down”

Captivating in the VHS-shot video, Mish Way is a goddess per usual in this perfectly titled track off Vancouver punk White Lung’s debut album with Domino. “All the world’s pretend,” she reminds us, sneering in leopard stockings whilst burning scarecrows on a beach. It’s brash, it’s feminist, it’s frenzied rebellion by nature of simply being.

1. Childbirth – “I Only Fucked You As A Joke”

I’m going to be real with y’all, at first I had Jessie Ware at this spot and then I was all, “Why so serious…!” 2014 was the year of the anti-needy-chick “I don’t want to be your girlfriend” anthem, summed up hilariously with Childbirth’s (Chastity Belt/Tacocat/Pony Time supergroup) “I Only Fucked You As A Joke.” Whatever gender pronoun you identify with and no matter how 2014 sat for you on the rebellion spectrum, I think we can all relate to the line “I can’t make good decisions every day!” Let’s bring in the New Year with that.

SST out.