By Rosie Accola
Kamikaze Girls’ first full-length record, Seafoam, is aptly named it crashes into the listener, a direct confrontation of feedback and lead singer/ guitarist Lucinda Livingstone’s powerfully raw vocals. This is a record that demands to be heard, Livingstone’s lyrics address societal and personal perceptions of mental health, without so much as a flinch.
Hooligan was lucky enough to catch up with Lucinda over email to talk about the new record, her zine “Ladyfuzz,” the healing power of punk, and pedal-boards.
I hear a lot of riot grrrl in your new record, and you reference Robert Smith at one point in “Seafoam”, who are some musicians that inspire you? What were some of your main inspirations for this record?
A couple of big ones for us are The Cure and Sonic Youth. We both really enjoy both bands, as their discography is so varied and they reinvent themselves each album. Both bands are very experimental, yet remain melodic and catchy in their own ways and that's what we take from each. Early Riot Grrrl like Bikini Kill, Sleeper, and L7 is also a big influence, as well as a lot of grunge and Brit pop. I think for me personally, this time around I was hammering the new Touche Amore record, plus revisiting Dirty by Sonic Youth.
How do you think you grew as musicians between the release of “Sad” and your full-length record?
I think the main thing we did was tour and play a bunch. We didn't practice once in 2016 I don't think, we just toured. Everything became muscle memory, and I don't regard myself as a great guitarist or a good vocalist by any stretch. So, from touring I got a whole lot better at playing guitar and singing. I can't really say I've become great, but I have definitely improved in those areas. I think Conor got super tight as a drummer as well. I suppose we'd like to think that when we both got back in the studio and into writing we were both more accomplished musicians. I know one of the things I felt is that I wanted to get out my own head a little more with lyrics. Everything I write is super personal, and although I don't see that changing as it's my writing style, I feel more socially aware and a little braver talking about things that are affecting our generation and our music scene.
Since your zine is called “Lady Fuzz,” would you do me the honor of walking me through your pedalboard set up?
Honour? More like misfortune! I won't go into it too in depth as it'll take up the whole page, but here's my current chain: Fulltone Drive 2, Blues Driver, EHX Pog 2, Boss Super Chorus, Boss DD7 Delay, Strymon Blue Sky Reverb, Boss RE20, EHX Freeze, EHX Switch Blade (A/B Splitter). This is pretty much identical give or take to what was used on Seafoam. My set up for SAD was a little more modest, haha.
Tell me about “Lady Fuzz.” What’s your favorite thing about making zines?
I like showcasing all my friends work, and that's what “Ladyfuzz" is. I round up creative friends for each issue and ask them to contribute, be it art, illustration, photography, music. I also interview a lot of my friends in bands, which has made for some really great features in previous issues and I see a different side of them. The next best thing is going to pick it up from the printers and praying that I've not made a million mistakes — and that even if I have, it still looks great aha.
How did you discover zines? Do you have a favorite zine?
I can't really remember how I discovered them to be honest. I remember all the old Riot Grrrl zines from the ‘80s but I never actually owned any of them, I just enjoyed reading about them. I think as I started to get more into Riot Grrrl music and look deeper into feminism and the culture of non-males in punk, I discovered more and more people making zines. As an illustrator and musician, I think a zine fuses these two things together perfectly, so it was a chance for me to have a project based on the two things I love.
One of the tracks on the record is called “Teenage Feelings,” how do you think ideas of teen angst and just being saturated with emotion translate into your twenties and life beyond being a teen?
The song itself is about struggling with sexuality and being confused, and that confusion taking you back to square one — like when you had your first crush. I was in a situation last year when this happened, and caught myself thinking, “My god, how is this happening to me again?” I think, in a way, when you get new feelings about something or someone you almost revert back to the first time that happened and act in the same way. So, for me at the time I had a lot of angst, and confusion and shyness that I didn't expect. I don't think that's a bad thing though.
I love that you wrote a song about cat-calling and feeling unsafe at bars, because that’s such a common experience and people are reluctant to talk about it. Do you find that music helps you process instances of misogyny and sexism?
“KG Go To The Pub” is a big “fuck you” to every predator out there that's caused a survivor harm or discomfort in any way. The song is to get that anger out. For every time you've wanted to shout something back, to call someone out, or just express that you're hurt by someone’s actions. I think music can help. I think going to a show and getting out your anger and sadness can heal you. We feel things, often very deeply, and sometimes we need an outlet for closure.
You write a lot about your own mental health, and in “Deathcap” you refer to yourself as, “one of those nervous millennials,” how do you think attitudes towards mental health have changed over time?
I think it's becoming less taboo, but I also feel that it's often glamourized in the media. I don't think there's a right answer for how increase awareness for a younger generation without making it either sound stigmatic or beautiful. The truth is that a lot of people suffer with mental health and they deserve the help people that suffer with physical health receive. I think people need to see the reasons why someone might suffer with depression, anxiety, or PTSD so they can understand if they are suffering themselves. I was diagnosed with depression when I was a teenager, and I didn't understand the symptoms or why the Doctor told me that. I just took the pills they gave me and did what I was told. There was no educational piece around it, and my school was just more worried about me passing my exams and not getting pregnant than how my brain was behaving at the time. I really hope they start to bring more mental health education into schools. It's important.
Do you find music and writing to be healing forces?
Yes, completely. Music was my thing growing up and it stayed with me. I was the kid that walked around all day with my headphones in, or put my headphones up my sleeve in class so I could listen to my favourite C.D. instead of paying attention to science or something. If I didn't have headphones, I used to sing my way through albums in my head. That sounds weird now that I think of it, but everything I did revolved around music. The second I got a guitar and started trying to write songs, I knew it had a healing power for me. I don't think it makes a difference what age I am, or if I'm in a band or not, the art of writing songs will always be therapeutic for me.
What part of this record are you the most proud of?
That’s a tough question— probably the vocals on “KG Pub” and “Sad Forever.” I did them both in one take in the middle of the night on the last day in the studio. Bob, Conor and myself were stressed. It didn't seem like we were going to finish the record, we'd run out of time, and Bob had people coming in to track another record straight after us. We were all at the end of our tethers, and I did them both in one take. I came back into the control room and they were both beaming at me. I think the emotion and anger in both those songs really affected me that night, and I don't know if it will come across on the record, but I was physically shaking after I'd done the vocals on those two.
You can stream Seafoam on Spotify today. You can snag a copy of “Ladyfuzz” here.