Podcasts about grim town

On this week's episode my guest is SOAK. Bridie Monds-Watson has been making music since they were a teenager in Derry, releasing their Mercury-nominated debut Before We Forgot How to Dream in 2015 at just 18, followed by Grim Town in 2019 and If I Never Know You Like This Again in 2022, all on Rough Trade. The last few years have been a strange and quiet stretch for SOAK. Vocal issues left them wondering if their time in music was coming to an end but an undiagnosed autoimmune disease was quickly discovered. Bridie talks about coming out the other side of it having "remodelled everything for joy", writing in the present tense rather than nostalgia, and only trying to make themselves laugh. There's also the full story of how 'just stand there' with Fred Again.. came about, from a lockdown spoken word piece made with Ellius Grace and Gemma Doherty to Fred texting through a finished remix unprompted, to becoming the most heard vocal of their career, racking up over 25 million plays and the surreal moment Fred and Thomas Bangalter of Daft Punk closed a show with the song segueing into 'One More Time'. SOAK is big on collaboration having recently also worked with Gordi, Niamh Regan  Katie Malco, Julien Baker and] George Fitzgerald. Fresh from an intimate tour of Ireland's small rooms, venues and bookshops, 'death valley fridge magnet' is their first solo song in over four years, a song about feeling lost and finding your way back through your friends. You can catch SOAK live this summer at The Circle by Jameson Music at All Together Now Festival, which features some Nialler9 favourites. For this conversation, SOAK picked five songs to frame the chat: Big Thief, Samia, Julia Jacklin, Mitski and Ryan Beatty. We get into all of them, along with losing your voice, writing to your younger self, and over a decade of being SOAK. * Support Nialler9 on Patreon, get event discounts, playlists, ad-free episodes and join our Discord community    On the vocal issues that changed everything "I have an autoimmune disease that I didn't know about, and I only found out about it because I started to lose my voice. After one show, my voice would just become hoarse. When that started happening, I was like, well, maybe there's a reason I'm not meant to do this... In the end I did really need a moment to ask, what do I care about? Why did I want to do this in the first place? It recentered everything. I just remodelled everything for joy. It's been a big relief." On touring while losing their voice "I would play a show and then my voice would just go, or I'd be straining so hard it was painful to sing. For a lot of those last shows I would literally be on vocal rest during the day to save my voice for the show that evening, strain it again, and repeat the process. And there's a band there and everybody's getting paid. It was just so stressful." On how the writing has changed "A big difference in the stuff I've been writing is that it's very present. Before, I would have been very nostalgic in my writing... I notice a change in myself, that I'm trying a lot less. I'm only trying to make myself laugh now, to be honest. I used to punish myself a lot and seek some sort of optimisation in music, which is the worst combination of words when it comes to art." On redefining success "My aspirations have never been to headline Glastonbury. To me, success is having the freedom of time and space to actually make the next song. Nothing will stop the next song except for you. You can be an artist and it doesn't have to be your entire income. That's a big distinction I had to learn." On writing 'death valley fridge magnet' "I wrote it in the car, it was starting to snow around Christmas a couple of years back. I was driving past St Stephen's Green and it brought on all these memories of my best friend. We did a road trip in America years ago, and I was trying to take the complication of adulthood out of things and remember how it felt to be eighteen and really not care much and just want to do stupid things." On the Fred Again.. collaboration "I got a chain of texts from him and he referenced really deep cuts from my first record. So I was like, okay, respect, you actually know what's going on here... I find it so funny that what he wanted to use was my pretty intense Derry accent. Even at that level, everybody working on this stuff was so kind and genuine. He genuinely is so obsessed with music, does not stop, always singing into his phone or tapping a table. It's truly an inspirational thing to witness." On seeing Fred and Thomas Bangalter close a show with 'just stand there' "They finished that whole show with 'just stand there' going into 'One More Time' by Daft Punk. At my thirtieth birthday, my friends got it up on their phones. That was crazy. You need to talk about it more." On Irish music right now "It really feels like we're flying as a country musically. The standard of stuff coming out is ridiculous. I just listened to the new Joshua Burnside record, which I think is his best yet. How that and the last CMAT record can be so different and so brilliant, our range is pretty impressive in this country." On Big Thief's Double Infinity https://www.youtube.com/watch?v=nSqYsmmfbCI "All those songs are three, four chords and pretty simple song structures, and I appreciated the choice of that. 'Incomprehensible' is an all-time Big Thief song. You can hear them laughing in the background, they allow it to be a bit rusty, and that's what I like most." On Mitski "The through line through all of these artists is the honesty of it all, not trying to be a shiny happy person, just all the good, bad, beautiful, ugly. I love that in Mitski's music especially. She's not afraid to be perceived negatively or pathetically. She leans into it and I think it's great." On revisiting old songs "It freaks me out. It's literally like being face to face with your younger self. Sometimes it's too intense emotionally, why I wrote them, what I was feeling when I wrote them. I can't just pop in and out of that. It's a real deep thing." On Ryan Beatty's 'Secret Language'  

"Teenage dream's so hard to beat" by Soak. Here, Soak recalls memories of growing up in Derry City and the importance of home. Bridie Monds-Watson AKA Soak has released 3 albums: "If I Never Know You Like This Again" (2022), "Grim Town" (2019) & "Before We Forgot How to Dream" (2015). For more see https://www.soaksoaksoak.com/

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The 22yo norhtern Irish talent has written her second album based around a ficticious city. Hear SOAK speaking with Richard Kingsmill about Grim Town, how she used this songwriting concept to deal with her own mental health, and why she started writing songs in the first place as a 13yo.

The 22yo norhtern Irish talent has written her second album based around a ficticious city. Hear SOAK speaking with Richard Kingsmill about Grim Town, how she used this songwriting concept to deal with her own mental health, and why she started writing songs in the first place as a 13yo.

When Before We Forgot How to Dream arrived, most of the coverage understandably centered on the songwriter’s age. At 19, Bridie Monds-Watson has released a remarkably worldly and mature record for Rough Trade. It’s been four years, the woman behind Soak having taken some well-deserved time off from recording and touring. She moved from Derry, North Ireland, to the perennial musical hot spot of Manchester. She didn’t rush and just generally went about living the of a young person in an exciting new town. This month, Monds-Watson returns with Grim Town, an ode to her beloved hometown and to her own growth as an artist and human being. Recorded a few months before the album’s release, this interview finds the musician on a break from tour and ready to discuss the impact of those few years away.

NO ENCORE is back on a two-man vibe with another packed deep dive into the realm of all things music. There's a chat with SOAK as she releases new album Grim Town, thoughts on Kanye's Sunday Service, Dave versus the national broadcaster, and the hotly-anticipated comeback from Vampire Weekend... ACT ONE: Dave talks Avengers: Endgame, gets into a social media ruck, and generally defends the honour of critics. Again. ACT TWO: The boys mull over the news happenings, from David Byrne's job offer to what bands should be avoided for security purposes. ACT THREE: SOAK is back with Grim Town, her excellent sophomore effort. She sits down with Dave to discuss what went into the album's construction, mental health, problematic lyrics, and why her career is something of a happy accident. ACT FOUR: Songs of the Week with FKA twigs, Better Oblivion Community Center, and an all-star team-up in honour of Game of Thrones. ACT FIVE: There's a week to go before Vampire Weekend release Father of the Bride, their first album in six years. But dammit, Dave and Craig can wait no longer... EXIT MUSIC: Le Boom x Æ MAK | 'Dancing Bug'

This week, the young singer-songwriter SOAK, aka 22-year old Bridie Monds-Watson, meets Q Editor Ted Kessler in The Making Of bunker for a revelation-packed edition. She tells us why Derry can no longer contain her, what she stole from Avril Lavigne, why the title of her forthcoming second album Grim Town is just a state of mind, and how one day she'll resurrect her first band, Peeing In The Dark. All this and the feared/loved Biscuit Tin, too.

On today's episode I talk to musician Bridie Monds-Watson AKA SOAK. Originally from Derry in Northern Ireland, Bridie began making music when she was 13, and quickly found acclaim. Her first album, Before We Forgot How to Dream was released in 2015 on Rough Trade. It won the Irish Choice Music Prize Album of the Year and was shortlisted for the Mercury Prize as well. Her latest album, Grim Town, which is also on Rough Trade, will be out this April. This is the website for Beginnings, subscribe on Apple Podcasts, follow me on Twitter.