LOUD WOMEN eZine Issue #13 | Madame So | The Baby Seals | PAMs | The Darts | Desperate Journalist
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Blindness - No One Now
Blindness: No One Now
The LOUD WOMEN: Volume One compilation album is out NOW! Pre-orders and launch sales have been so successful that the initial pressing costs have now been covered, so now every penny of the £10 you pay for the CD (and glossy 12-page zine!) goes in the Women's Aid bucket. Order yours today from
Colour Me Wednesday - Don't Tell Anyone (Official Music Video)
Colour Me Wednesday: Don't Tell Anyone

next LW gig

Friday 21 April at the Hope & Anchor, N1. Featuring:
Hot Sauce Pony
Wolf Girl
Jenn Hart
 - joining us to launch her book of poetry
Tix £5 from here!

LW Fest 2017

LOUD WOMEN Fest | 2 Sept 2017
Blondie - Fun (Official Video)
Blondie: Fun

Mammory Tapes DJs join LOUD WOMEN Fest

We're dead excited to announce that DJs from the very awesome Mammory Tapes club will be joining us at LOUD WOMEN Fest on 2 September, to spin some tunes between bands, and then keep the party jumping until the bitter end! Bring your dance pants, and comfortable shoes.

Don't forget too that earlybird £10 tickets are only available until 1st June - get yours now and save literally pounds! A reminder of the stunning musical line-up:
On the main stage:                     
On the bar stage:

Hands off Gretel                               Sink Ya Teeth
Petrol Girls                                       Baby Arms
The Twistettes                                  Lilith Ai
Dream Nails                                      Gaptooth
GUTTFULL                                        Grace Savage
LIINES                                               Velodrome
PUSSYLIQUOR                                Lea Andrews
The Baby Seals
Party Fears
Beverley Kills


Get your tickets today from WeGotTickets

Girl Ray - Stupid Things
Girl Ray: Stupid Things

Released today on LOUD WOMEN Records:
'Dear Dave' by
May Dawnay

We have recorded this song in tribute to its co-writer Rachel Finke, who sadly took her own life in January 2017. Proceeds from sales will be donated to Young Minds, a charity which addresses young people and mental health. 
Download the track from our Bandcamp and pay whatever you can afford to help this awesome charity.

May says: "We wrote this song as a protest against the Tory government at the time, and to give hope to the next generation - to show that if we stand together we can overcome oppressors like them."

Huge thanks to: Keith Top of the Pops being a total legend, and for making the recording possible; Kate Dornan, for donating her perfect guitar and piano-playing skills; and Alex Booth for top-class audio help throughout.
Photo by Crawford Blair

interview: Madame So
by Tim Forster

How long have you been making music? When did you 'become' Madame So? 
Well, I used to write for various magazines, reviewing gigs and interviewing musicians...I thought that was the closest outlet there was for me to get exposed to as much music as possible. During that time, I got to hang out with some buzzing bands on the London scene at the time and I kind of developed an itch for performing my own stuff. I played my first ever gig circa 2011 and have played ever since. I recorded my first demos in the summer of 2012, then they developed into 'The Sell-by Date EP' which I put out in 2013 under the stage name of Madame So, even though, this is not so much a stage name as such as my parents have called me that since I was about three years old.

Who would you list as musical influences?  
Foundations in my musical make-up include Bob Dylan, Nina Simone, Garland Jeffreys, Patti Smith, Billie Holliday, Fats Domino and all that cool indie stuff like The Replacements, Liz Phair, The Lemonheads, L7 and Hole, as well as some French music (Serge Gainsbourg, Renaud, Christophe Miossec).

Did you have a fairly clear idea of the sound you were aiming for from the start or has it evolved?  
Not really. When I was performing the acoustic circuit in London, my stuff was already branded "punk" by promoters and other bands who associate acoustic guitar solely with the likes of Bob Dylan, Neil Young and Nick Drake... While when writing a song I never had "punk" in mind: for me it was just me writing a song on the guitar. I like guitars. I did not have any particular sound in mind, I just wanted to flesh my songs out into a full-band performance, and I got to work with musicians (of the band Paintings of Ships)  who got my vibe and with whom I recorded 'The Sell-by Date' EP. On 'It's Not Even A Colour', my  second EP, I had the likes of Gang of Four and Lush in mind.

What sort of subject matter do you explore in your music?  
The narrative of my songs tend to revolve around the themes of alienation, addiction and the war on conformity.

What inspires and influences your lyric writing? Books, films, your own experiences?
A mixture of these three. I'm a big daydreamer with a keen interest in words and poetry, so lyrics are something I give high importance to in a song. I like to dig out the poetry in/from the grit, and a genius at that was my favourite-ever author, Charles Bukowski. I have just finished his book of poetry, 'On Love': it's brilliant.

Your song 'Black is Beautiful' seems to explore the pressures to conform with expected cultural norms – is that what it's about?
Yes, that's one way of seeing it. Ultimately, it's a big shout out about the fact that being black doesn't have to be one-dimensional. Not every black person is brought into this world as an all Beyonce/Rihanna/Tyler Perry's films loving package just because they are born black. And that it's OK to be black and choose guitars over beats and spits. I could have (like I have been suggested to by black and white friends and acquaintances alike) gone the easy, predictable and expected R'n'B/Hip Hop route. But I am a musician, not a poseur, so best make music I can genuinely express myself through instead of being a fraud to my own self.
  • "The only pressure, if we want to call it that, is being faced with people's narrow-mindedness and simplism."

Earlier this year you released a very interesting rearrangement of Bowie's 'Let's Dance'. How did you decide on that reinterpretation? Was your decision to release it as a single a kind of homage?  
I was playing a couple of shows in Paris in 2015, and wanted to stretch my set a little. I've always loved this song ever since I was little, and for me the best covers are the ones that go in opposite directions from the originals (a band like Nouvelle Vague is a master at that so much so they based their entire career on making covers). For me, it would have been way too predictable to have recreated the saxophones and kept the song "danceable". I just wanted to focus on the brilliance and purity of Bowie's songwriting less the flashy production however great it is. When I recorded this cover in Spring 2015, I had no idea what he was going through but my own mother was undergoing chemotherapy...  She passed four months before him. So it's an homage to both of them, really.

What are your plans for 2017?
I'll keep on performing live, currently with my drummer, Giova, and then we'll expand the line-up into a four-piece for bigger gigs, hopefully festivals, and aim to have recorded that long-overdue debut album by the end of the year.
Photo by Crawford Blair

Big thanks to Solange. To hear more go to and 

LOUD WOMEN to curate music for Matchwomen's Festival!

LOUD WOMEN is teaming up with superhistorian Louise Raw to curate the music for this year's Matchwomen Festival, to be held at the stunning venue of the London Irish Centre on 1st July. The musical line-up will be announced very shortly, but in the meantime just have a look at the speakers on the daytime bill!

Imani Robinson UK Black Lives Matter
Shami Chakrabarti Shadow Attorney General, in conversation with
Diane Abbott MP
Lyn Brown MP 
Rachel Holmes best-selling author of 'Eleanor Marx', and the forthcoming biography of Sylvia Pankhurst
Kiri Tunks the NUT Vice President
Barbara Jackson Secretary of the Orgreave Truth and Justice Campaign
Sarah Wise author of 'The Blackest Streets' 
Louise Raw festival founder, on women fighting back through history
Women of the London Recruits: the sensational story of the young women who undertook clandestine missions for the ANC during the bleakest years of the apartheid regime; now subjects of a book and film.

plus comedy from Hannah Chutzpah

Get your tickets quick, and look out for details of our stunning musical line-up on the Facebook event.

Playing House - New Haircut
The Twistettes: Is This It?

new music

A round up of new releases we're getting excited about.

New tracks 

Downtown Boys – Somos Chulas
Nia Wyn – Help Me 
The Nyx – Hideaway
Skating Polly – Hail Mary
Pearl Harts – Hit the Bottle
Dream Wife – Somebody
Grace Savage – Medusa
Pink Grip - Demo EP
The Whooper-Ups – Sensible Daydreams EP
Yur Mum – Live EP 
Blondie – Fun/Monster 
IDestroy – Annie/98% 
Screaming Toenail – Food Chain  EP
PAMs – Phasers EP
Cat Apostrophe – World is Fucked EP 
Sunflower Theives – Hold the Storm EP
Blindness – The Monsoon EP

Cherry Glazerr – Apocalypstik
Desperate Journalist – Grow Up LP 
The Darts – The Darts 
The Menstrual Cramps – We’re Not Overyacting
The Courtneys – Courtneys II 
Party Fears – Part Fears LP
Hurray for the Riff Raff – Navigator LP
The Kut – Raw - demos CD 
Trigger Warning and the Safe SpacesEverything is Problematic! LP

V/A compilations
LOUD WOMEN Volume One 
Kobayashi I - Intergalactic Warriors
Hang In There - A DIY Covers Compilation
Pending releases
Feature – Banishing Ritual LP Apr 07
The Baby Seals – Lips Are Sealed Apr 07 
Long Teeth – Canned Laughter Apr 20
Darling Buds – Evergreen EP April 21
The Nyx – The Nyx EP – April 21
Skating Polly – New Trick EP Apr 28
Wolf Girl – Moody/Get You – May 5
Blondie – Pollinator – May 5
Oh! Gunquit – Lightning Likes Me – LP May 19
Coathangers – Parasite EP – Jun
Lorde – Melodrama 2nd LP – Jun

we are reading ...

The First Rule of Punk by Celia C Pérez

Know a smart ten-year-old? Her birthday present is sorted right here – you're welcome.
Celia Pérez's debut young fiction book tells the story of Malú, a 12-year-old Latina girl who causes anarchy at her middle school when she forms a punk band. We love Malú.

Availble on Amazon here (but if someone knows a less sinister way of getting hold of it in the UK do let us know!)

record review
by cassie fox - reviewed on

The Baby Seals – The Baby Seals (EP, April 2017)

You can’t help but love The Baby Seals. An all woman trio – consisting of two sisters and their bezzie – playing a genre they’ve invented themselves, ‘empower pop’.

The first time they played LOUD WOMEN Club, back in December 2016, several members of the audience were debating forming a record label right there on the spot in order to sign them. Now it seems that these smart Seals have gone and done exactly that for themselves, releasing their eponymous debut EP under their own steam. The spirit is DIY punk, but the sound is neatly polished.

The songs are strong and dancey and perfectly executed, and the biting lyrics genuinely hilarious. But these funny women are not laughing at themselves: they’re inviting us to join them in laughing at the ridiculous policing of women’s bodies.

Opener 'My Labia’s Lopsided, But I Don’t Mind' spells out their agenda in mile high neon lights: bollocks to the patriarchy, and we’re going to have an awesome time while we’re at it. It’s a storming song and catchy as hell – big guitar licks over a dead funky rhythm, and proper choral vocal harmonies – and that’s before you even get to the lyrics: 

  • “If you go downtown don’t you dare close your eyes  
    If you go downtown don’t dare be motherfucking surprised  
    My la-la-la-la-la-la-la-labia’s lopsided but I don’t mind…”

It’s a crying shame that this song is unlikely to ever get played on mainstream radio – teenagers and young women need this message of sex-positive body confidence now more than ever.

And that message of loving your own body, in all its weird and wonderful variations, continues in 'Nipple Hair' – a song which sounds very much like early Bangles, but with less hairspray and a lot less hair removal. It’s a classic power pop ballad, with a middle eight I wish I’d written: “Some aeriole are big and veiny / Some look like puppy dog’s noses / Some look like they’ve been dipped in gravy”

'Period Drama' has a similarly ’80s-soft rock feel – more reverb-y harmonies over big guitar. A song that will strike a chord with any uterus-owner who’s ever been caught out by Aunt Flo’s arrival and had to improvise with a jumper tied round your waist to hide the stains. (Yep, that’s pretty much all of us then.)

'Guuurrrrl' is another super-catchy anthem with the simple message: "You – yeah you! – can be what you want to". It’s the kind of song to outro an indie highschool romcom movie, with the cheerleaders chucking their pompoms out the window of the car as they drive off towards Vegas with a trunk full of guns and quarterbacks. Oh how I’d love to see that movie.

The Baby Seals played LOUD WOMEN Club on International Women’s Day, and I had such fun dancing to 'Yawn Porn', down the front with loads of great babes around me yelling along to “He’s going to cum on her FACE!” It was like the best woke hen party ever. They closed the set with EP closer, 'It’s Not About The Money Honey', a bluesy bass-rolling chant calling for equal pay.

These talented women aren’t so much smashing the patriarchy as laughing in its face. I can’t wait to see what The Baby Seals come up with next.

The Baby Seals’ self-titled EP is available to pre-order now from 

Catch them live at one of their release party gigs: 4 April at The Prince Albert 
Brighton, and 5 April  at Shacklewell Arms London.

Find them on FacebookTwitter and Instagram

record reviews
by richard archer 

PAMs – Phasers (EP, April 2017)

On ‘PAMs Phase #1’, PAMs established themselves as masters of quirk and chaos, songs such as ‘Don’t Push Me’ sounding like a boozy, parallel universe version of the Scooby Doo gang having a dust-up inside your stereo. It was thrilling stuff, so it’s good to have them back for a second round.  

On ‘Phasers’, they are moving  toward a more honed end result, and if that sounds disconcerting then don’t panic – there’s still plenty of ruckus there to enjoy such as the glam-for-a-bit ‘Fun’, on which bass player Satori Kurosawa shouts:

  • "If I cant have no fun, I don’t want nothing at all" 

Audibly, the production has moved away from the murk of the previous cassette but that gives the new set of songs a particular character of their own and suits the refinement in performance that is apparent.  

Maybe different influences are permeating the band right now. The band see-saw between Ramones style sprints (‘No Shoes’ is Ramones as played by the Runaways) and a slick wheels-on-tarmac groove worthy of bands like Crime (‘Comped To Death’ and ‘Pinback’ in particular).

It’s nice to see a band with an idiosyncratic nature like PAMs move around within their sound rather than repeat the same recipe and full credit goes to them for upping the ante.

PAMs Bandcamp

The Darts (US) – The Darts (LP)
A compilation of previously released EPs, this self-titled album is the first full-length offering from the US garage rock band The Darts.

‘Running Through Your Lies’ kicks things off with a bass guitar (courtesy of Christina Nunez) that sounds like a motorbike engine, leading a tale of deceit snarled by Nicole Laurenne over a quiet verse and loud chorus dynamics in a way that channels the auditory drama of performers like Etta James with lyrics to match: 

  • “crooked words untrue/losing faith in you/Suspicion in your eyes”

The group dynamic is set-up from here and remains constant across the 13 tracks – an unyielding rhythm section bolstered by guitar and a sprightly organ sound that provides the top-end. This doesn’t need to change because there’s enough invention in the songs to keep it interesting – the band do chipper Romantics-style power-pop on ‘Take What I Need’, get slow and brooding on ‘You Got Me’, and go a bit psych on ‘Evil Wayz’ (think Electric Prunes). 

It’s a compilation and has to be listened to and enjoyed as such. In the spirit of garage rock there’s a kind of ‘hit-and-run’ quality to this that is very, very pleasing and this will no doubt appeal to fans of London garage-rockers and LOUD WOMEN faves DOLLS.

The Darts' Bandcamp

Desperate Journalist – Grow Up

With regards to songwriting, Desperate Journalist’s new album feels like a great lost record from an era when bands like the Cure or the Smiths were at the peak of their powers. With regards to the band themselves and the production, they sound a lot tougher than that. From the opener ‘Hollow’ onwards, you can hear the bands’ possible influences but also their distance from them. For instance, on ‘Resolution’, there are flashes of Simon Gallup-like bass invention, but anchored to a punchy bottom-end that simply doesn’t belong in that era. The end result is more Simon Wallop.

Likewise, ‘Be Kind’, features Smiths-y (or do you just say Smithy?) guitar work on the verse but explodes on the chorus in a style more that is more chunk than chime.  And of course, singer Jo Bevan has been compared to Morrissey but to my ears this is only here and there in the melodies. The imagery in her lyrics feels miles away from the kitchen sink grit of the Moz, such as on Resolution: 

  • “She says I haven’t seen you in years
    Like confetti in the atmosphere”

Enough of that anyway, there are tracks on here that simply beguile. ‘Purple’ hypnotises thanks to Caz Helbert’s perfectly-judged drumming, as does ‘Lacking in Your Love’ with its amazing twisty guitar riff that grabs your attention from the songs beginning. This is the band's second album and so evident is the band's scope and propulsion that you’re left feeling intrigued as to what album three may bring. A really excellent album. 

Desperate Journalist's Bandcamp

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Desperate Journalist: Be Kind

Picasso on your face!

The new EP from electropunk lovelies Feral Five, 'Man Cat Doll Machine', is out now. The four songs were originally written for the Martyn Ware (Human League / Heaven 17) Picasso event at the National Portrait Gallery. The cover artwork is by the amazing activist artist Tracey Moberly.

And as a special treat, you can make your face look all Picasso-y using the free app used to make the artwork, here

kate whaite's great

Hello music pals! Can you believe LOUD WOMEN are having me back after they let me write that indulgent piece about Beyoncé? I can’t, but here we are. I would suggest that if you like talking about music, you should definitely get in touch at to contribute to the next issue.

A couple of things about myself that might be important to know before you read my review. I hate reading reviews, good or bad, and then not knowing if the reviewer and I have the same kinds of taste, and I don’t want you experience that. Like, I can trust Peter Bradshaw’s film reviews in The Guardian, for the most part, because he gave 'Twilight' four stars and he gave 'Lemonade' the respect it deserves, he loves the film 'Christmas Holiday' starring Gene Kelly as a murderer, and we both found 'Eat, Pray, Love' pretty dull except for Javier Bardem. That’s the kind of thing I mean, but that’s films, not tunes. 
Here it comes. I grew up listening to R&B and hip hop and taping songs I liked off the radio. My big brothers listened to Metallica and Guns 'n' Roses and Jimi Hendrix and Bob Marley. My mother loved Bruce Springsteen like burning but in the car it was cassette copies of George Michael and Michael Bolton and country radio. I sang Mariah Carey and TLC in talent contests at school, and learned to drink and smoke to Tupac and Led Zeppelin.
In 2005 I saw a lot of bands. So many indie bands at so many little venues – Infinity, Upstairs at the Garage, The Windmill, The Lumiere, The Good Ship, The Lexington, Islington Academy, Rhythm Factory, Metro, Nambucca, Frog, pubs, people’s houses, rehearsal rooms, parties, anywhere. Now I listen to popular albums two years after they come out and I mostly go out to see bands that have people I know in them. This works out well for me, because luckily the people I know are in great bands! But also luckily, I do the door for most of the LOUD WOMEN gigs, which means I get to see (or at least hear) a lot of great bands I wouldn’t normally seek out on my own. 
Listening to music is part of being a LOUD WOMAN, and so is talking to people about music you like. I’m trying out doing it myself. There’s still a little part of me that wants to warn people who are expecting serious reviews that can name all the important influences. Who can tell what instrument is making what sound! So let’s say these reviews are by “The Inexperienced Reviewer.” Here’s a taste.

record review
by kate whaite 

The World is Fucked – Cat Apostrophe

I’m sure I’ve seen Cat Apostrophe before, as a one-piece. Nosing around their Bandcamp, it’s 'Open' from 'Gut Songs' that I remember best. It’s a little haunting, this tune, like waking up on a bed of moss in a forest; a bit like the part in 'Sleeping Beauty' where Aurora dances with the forest animals but they’re all wearing a different bit of the prince’s clothes. [Why were the animals in Disney movies so much more attractive than the men? Probably because they had actual personality.] But this isn’t a Disney fairytale. The guitar’s rhythmic thumping is like a heartbeat, a reminder of the unseen danger in the dark. It’s Angela Carter

Now, with 'The World is Fucked', Cat Apostrophe is bigger than it used to be. Joining Kirsty Fife are four new members, and a new musical take on things. Three songs long, the EP manages to make some concise statements about value, care, and perspective. 
'I Left My Room' opens the EP. I like the flutter of keyboard, decorating a sparse and roughly elegant song. The chorus of voices sounds like a chant, an affirmation, almost a prayer of sacrifice. When the vocals dip towards the end of the track, the keyboard gives a comforting retro note.

Next up is 'Roast Dinner/Comfort Eater'. It’s a simple, jaunty song, but somehow still remains quite sad. Lyrically, there’s an insistence on the importance of self-care that stays just the right side of the border between advocacy and caricature. Fife’s vocals are so melancholy as she repeats: “I want to know we’re doing okay now,” it’s hard to forget the chasm that can spring up between doing okay and feeling okay.

'Small Things' is the closer, and it’s a pip. Its soaring, naïve vocals remind me a bit of Belle and Sebastian, and so does the flute. It crescendoes into a beautiful, big, cobbled-together wall of sound at the end, managing to evoke satisfaction and anticipation at the same time. It’s a delight. This one is the saddest of the EP’s “three sad pop songs”, but it’s definitely the good kind of sad.

The bottom line is that you should hop on over to their Bandcamp and give them your money for these songs. Pop them on when you’ve got a minute to listen, and to feel, and to think.
That’s it for this e-zine. Do get in touch ( and let me know how you felt about the review, or say hi at the next LOUD WOMEN gig.


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What a day, and what a night! Our LOUD WOMEN Volume One compilation album launch party was a massive success. Undeterred by a last-minute venue switch, 13 of our awesome CD contributors rocked the very awesome New River Studios, played to a (at times) full capacity crowd, and thoroughly launched what is looking set to be a hugely successful album.

If you missed out on the launch party, here’s a quick round-up of goings on …

19Lilith Ai and her new band opened the show with a poppier new sound. It’s Lilith’s stunning vocals that still makes your ears prick up and your hair stand up, so we can’t wait to see her playing again solo on the bar stage at LOUD WOMEN Fest in September.

Janine Booth gave a poetry set full of characteristic bite and warmth, opening with a brand new poem about the ‘Disaffected middle-aged woman’ which really hit home with this one! Janine is such an inspirati20on – travelling across London to give her time to our cause (for which she donated her fee to Women’s Aid), not complaining for a moment about her early slot in the line-up, and telling me moments before she went on stage that her boob was ‘still cooking’ from the course of radiotherapy she’d had that week. Massive love and solidarity with our shero Janine.

Madame So played next, accompanied only by a drummer, giving a stunning and heartfelt performance. She then stuck around to enjoy the rest of the day’s music – an artist who knows the importance of supporting her fellow musicians. Awesome attitude.


(Sorry Solange, I failed to get a photo of you – instead, here’s Bagel, the resident cat at New River Studios.)

Fightmilk joined us next, having stepped off another LOUD WOMEN stage only 16 hours previously! They’re always a joy to watch – they’re a rocking party and everyone’s invited. Top fun.


GUTTFULL played next – my band! We were on great form, if I say so myself … our singer, Moe, is proving herself to be a total natural at the front of a stage. She left the audience  raised-up/chastened as appropriate, and also covered in ‘cum’ from her party cannon orgasm. Dead proud of my new band!


The Tom Boys from Japan were a last-minute addition to the bill, as they happened to be over in the UK staying with friends of friends and were looking for a gig. What a treat! They gained a lot of new fans in London yesterday.

The Potentials hopped on next and, bouyed u13p by the Tom Boys’ awesomeness, decided to scrap their planned set list, and instead play all of their old favourites that they haven’t played for ages. They announced this as their “disaster set” … but it worked brilliantly!

Nervous Twitch came all the way from Leeds, in the rain, with a dodgy windscreen wiper, to play a stonking set. I’m always blown away watching Erin playing bass and singing *so brilliantly*, su15ch a hard thing to do and she makes it look easy.

Little Fists played next, reminding us all why we love them so much. Alternating catchy tunes with fierce rock;  and alternating melodic vocals with visceral, well, shouting. They switch between instruments with ease (well, ease, apart7 from Soph falling off the drum stool a few times, but done so elegantly of course!)

The Ethical Debating Society were introduced by Scene Queen Pearl Pelfrey, who rightly described them as her favourite London band. TEDS were on top form – possibly the best I’ve ever seen them play – and they debu11ted some very exciting brand new material.

DOLLS joined us next with their storming pop-rock, catchy tunes, stunning vocals, infectious smiles, and perfect teeth. How are these two not playing stadiums yet? We’ll just make the most of gettin8g to see them in small venues while we can because it seriously can’t be long before they go stratospheric.

Argonaut were also on top form – playing as a full band for LOUD WOMEN for the first time in too long! Lorna wowed us with her powerful voice and tigger-like dance moves, and Abby won herself a LOUD WOME9N ‘multi-tasking’ badge by playing keyboard, guitar, singing, and shouting down a megaphone during their set. Top work.

Gladiators Are You Ready? however, won the badge for most memorable live show. Jose and Ste entered wearing terrifying masks, and if that didn’t scare the shit out of us all enough, a bare-chested, kilted bagpiper entered from the far end of the hall, playing through the room and on to the stage, then piping in the entrance of ‘Vulvarine’, aka Hana, looking hot AF in an outfit that looked like she’d just rode in on some kind of winged fetish pony. She then produced a cape e3mblazoned with several pairs of pants, with letters on spelling out ‘TOO LOUD FOR TOOTING’. They could have just stopped at that, to be honest, they’d made their point. But they then played an awesome set of spectacular songs. Couldn’t really tell you what they’re about – between the masks, the bagpipes, and the corsetry, I was pleasantly distracted – but we all had a bloody good time dancing along to them. Must see these lovely 1mad bastards play again soon.

Then Deux Furieuses played their headline set and showed us all how it’s really done – a stunning set by two women with awesome talent, energy, and passion for their music. They were the 14perfect end to a perfect day’s gigging.

Special thanks too to the awesome Alice of the Glitter Girls, who came along to paint glittery shit all over our faces, in aid of refugee charities. Glitter makes everything better, even these beauts!

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lorna draws ... Josie Long

Josie Long’s show ‘Something Better’ at the Duchess Theatre, London.
It was really funny, and I learned that I need to get a big necklace.

Lorna Tiefholz plays in Rabies Babies and Mofam, are draws/writes at Gigs and Pencils. Catch her on 14th April at the Beehive in Bromley-by-Bow: MoFaM, Slags and Rabies Babies, only £3 in, and the first 30 people through the door get a free badge (featuring one of the drawings from the flyer). All bands will have projected visuals especially made by too.

Long Teeth - Pangea
Long Teeth: Pangea

lily cooks: Puttanesca Pasta

by Lily Rae, from Fightmilk

Puttanesca ticks every box for me. It’s a crowdpleaser you can throw together when you’ve got no money and a bunch of mystery jars in your cupboard – this has been the case for most of my adult life, and so it’s something of a signature dish by now. Done well it’s robust, salty, and blood-red, the sour tang of the green olives (not black, thanks) bouncing off the deep brininess of the anchovies. Look at me, practicing to be an actual food writer.

A couple of things – I find that dried basil is a bit intense and sweet for this and so I just stick to oregano, but to each their own. I also find that crumbled feta works nicely as a topping, and is generally a bit cheaper than parmesan. Warning: I guarantee whoever you make this for will end up falling in love with you. If they don’t like it, tell them to jog on.

  • 3 garlic cloves
  • 2 red chillies (1 if you’re a wuss, 3 if you’re a winner)
  • 5-6 anchovy fillets in oil or brine
  • 2 tbsp tomato puree
  • 2 400g tinned tomatoes
  • 1 tsp oregano
  • Red wine
  • a huge tablespoon of capers
  • Just a whole bunch of pitted green olives
  • Grated parmesan or crumbled feta

First, finely chop the garlic, chilli, and anchovies. Add a tablespoon of oil from the tinned anchovies to in a frying pan on a low-medium heat and chuck the garlic/chilli/anchovy mix in. If your anchovies are in brine, heat a tablespoon of olive oil instead.

Let the pan begin to hiss a bit and keep the mixture on the move with a spatula – garlic burns very easily, but you want the salty oil from the anchovies to melt out and coat everything. After five minutes, or when your eyes start stinging from the fish/garlic/chilli fumes, add the tomato puree.

When everything has melted together to form a kind of paste, slowly add the chopped tomatoes. Add about half a tin at a time, stirring it into the mix; you don’t want to overload your paste with all the cold tomatoes at once. Bring your heat up a smidge.

You can also liberally splash some red wine in at this point – it’s probably best to use a miniature bottle of slightly crap wine rather than the actual reduced nice stuff you bought at the start of the month because it is, of course, a drink, and you should. Cook for another 5-8 minutes.

Sprinkle in the oregano. Bring it to a gentle simmer and then turn the heat down and let it think about itself for 20 minutes or so. Have a glass of the nice wine that you didn’t put in the sauce.

Add your capers and olives – if you’re feeling frisky, put a splash of the olive juice in as well – and let them sit there for another 10 minutes or so (you add these afterwards so you don’t cook the fun out of them).

While that’s doing its thing, cook your pasta in salted water. Follow the instructions on the packet, I’m not your nanny. Oh, you’ve made your own pasta? Good for you.

When it’s al dente, sieve it out, keeping a little bit of pasta water in the saucepan to stop it from all sticking together and going weird.

Serve your pasta with a couple of hefty spoonfuls of puttanesca, fresh basil if you’ve got it, and a nice pile of whatever cheese you’ve gone for.


Find more food blogging from Lily at

LOUD WOMEN gigs diary

21 April @ Hope & Anchor, N1
Wolf Girl | Hot Sauce Pony | Velodrome | Jenn Hart poetry

23 May @ Hope & Anchor, N1
Hurtling | GUTTFULL and more

1 July @ London Irish Centre
LOUD WOMEN at the Matchwomen's Festival

Line-up TBA

2 Sept @ DIY Space for London
LOUD WOMEN Fest. For info
Vulpynes - OCD
Vulpynes: OCD
If your band is looking for somewhere to record, or if you have audio that needs mixing or mastering wizardry, look no further than Marketstall Recording. The studio is in South Bermonsey (very near DIY Space for London), and is fully-equipped with top quality amps and equipment, curated by self-confessed guitar geek Mark. His rates are super-reasonable, and he comes highly recommended by GUTTFULL and Thee Faction, who've recently recorded with him. Mark also worked *actual magic* in mastering the LOUD WOMEN compilation album – taking 21 tracks from widely varying quality recordings, and making them all sound equally awesome. Drop him a line and tell him LOUD WOMEN sent you!
Mariuk - Summer Song
Mariuk: Summer Song

Folkstock Records

With female representation so low within the realm of record labels and production we were intrigued to come across the mother and daughter team behind Folkstock Records. Founded in 2013 by Helen Meissner, the self-funded label was set up to release daughter Lauren Deakin Davies's first commercial recording by artist Kelly Oliver. Four years and 44 releases later, the dynamic duo have released, plugged and promoted over 20 plays on BBC Radio 2, a swathe of BBC 6 Music spins, plus artists as live guests on BBC Radio 2, 3 4 and 6 station shows, as well as many independent radio shows around the country. Recently described as feisty by latest release Kate Dimbleby on BBC Radio 2, Helen does everything bar the production. 'I completely trust Lauren to get the best out of the artist, while I get on with everything else, so you can understand how thrilled we are to now have had five albums reviewed in The Sunday Times, as well as coverage in The Telegraph, Music Week, The Evening Standard, Songlines, R2 Magazine, FRoots Magazine and many more, plus a few awards for our releases. Working in the emerging music scene is unlikely to make me rich. I think I've stopped losing money however, which is a breakthrough. And it's a privilege to work with artists who have a wealth of talent and I love sharing their work to anyone who will listen!'

Check out Folkstock on Bandcamp here
Skating Polly - Hail Mary (Official Video)
Skating Polly: Hail Mary
Dream Wife - Somebody
Dream Wife: Somebody

Disaffected Middle-Aged Women
by Janine Booth

Somewhat like the angry youth
But rather longer in the tooth
We're gobby, feisty, loud, uncouth
We're Disaffected Middle-aged Women

Kicking our feet against the wall
Plotting in the shopping mall
Go tell them we're not playing ball
We're Disaffected Middle-aged Women

Armed with Sertraline prescriptions
And feminist magazine subscriptions 
Complaints of various descriptions 
We're Disaffected Middle-aged Women

We won't be judged on how we dress
We're going to save the NHS
We're doing yoga for the stress
We're Disaffected Middle-aged Women

With the leadership skills of Princess Leia
The kicks of Buffy the Vampire Slayer 
We don't chill out - we add a layer
We're Disaffected Middle-aged Women

We're meeting to plan our strategy
By the gates at school at half past three
Pumped up on hormone therapy
We're Disaffected Middle-aged Women

Bosses and sexists, be afraid
We're not your skivvy or your maid
We don't care if our colours fade
We're Disaffected Middle-aged Women

Forming a gang on an estate near you
Fighting cuts and misogyny too
Then home in time for a refreshing brew
With the Disaffected Middle-aged Women


14 April, The 100 Club, Oxford Street

Punk icon Jordan talks to rock journalist John Robb about her time with The Sex Pistols, Adam and the Ants & the rise of the early Punk movement.

Tickets on sale now here

That's all folks!

If you've got this far, and liked what you've seen, you're gonna want to keep in touch ...
  1. Come to our gigs
  2. Start a band and come and play at our gigs
  3. Join our Facebook group
  4. Follow us on Twitter
  5. Drop us a line on to contribute to the next issue ...
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