Triptych is the brainchild of much loved Brighton promotions company Love Thy Neighbour. Ticket holders are treated to three nights of music at the Hope & Ruin, with each act contributing a track to a limited press of lathe-cut vinyl. Now in its fifth year the lineup is as exciting as ever, featuring Lambrini Girls, Sit Down, Wife Swap USA, Spang Sisters, Hutch, Lucy Feliz, Public Body, Porchlight and Toast.
We caught up with some of the brilliant artists gracing the lineup this year.
Fox, Catt and Phoebe. All top shaggers, not actually girls.
Tell me about your writing process. Are you jamming stuff and developing it in rehearsal or is it more about bringing the lyrical content to life?
Our writing process starts every day at 5am. You wake up, you decant a tin of baked beans and write words on each individual one, gaffa tape them to your toilet seat until a sentence is made.
It’s now 7am. What do you do? You go down to the Level and eat a whole wheel of brie, if anyone asks for some, you say NO.
8am, you’re outside Small Pond to practice, it’s not open yet. What do you do? You’re rubbing baby oil all over yourself. You cry. But then you realise, you now have your beans, you have your words and this baby oil is making you shine like the North Star. You never needed a practice room in the first place, the song was inside of you all along.
If Lambrini Girls had a manifesto, what would it be?
Live Laugh Shag Vibe
You were part of the Small Pond Emerging record – tell us about the song you contributed, ‘Big Dick Energy.’?
Basically, it’s a tongue in cheek approach to toxic masculinity. Not to diminish the male experience of being affected by it, but the song does focus on how disordered views and behaviours instilled into cis men, resultant of toxic masculinity, manifest into ways that affect women and marginalised genders to frustrating extremes.
Describe the Lambrini Girls live show, what should Triptych ticket holders expect?
Lots of Lambrini! And also Phoebe is going to set her naked body on fire so it will be a really fun night.
Public Body are 5 people who have their priorities straight… mayonnaise on everything.
Your EP ‘Flavour of Labour’ is due out soon – what sounds and influences were you getting excited about while you were making it?
We’re all producers in the band so we get real deep on the production especially with the drums. We had a great engineer, Christoph Skirl when we tracked the record, he works at Echo Zoo Studios and is just insane with the gear. He’s able to get everything to sound exactly how you want it to and without any trouble! We tracked the drums and bass at the studio and the rest we just did at home. DI’d the guitars. Makes me laugh to be honest haha love the contrast between huge production on the drums and then just sticking the guitars straight into the interface at home. I wanted it to be really intense sound, similar to the hardcore band Ajax, where everything is crushed and sounds like its about to explode – check out Ajax – Bleach For Breakfast on youtube.
Are there particular themes and concepts you find yourself exploring a lot with Public Body?
I usually just write about my job to be honest. I’m not big on feelings to be honest. They’re great! But I’m not poetic enough to describe anything that deep. So I just think hey, I’ll complain about my 9-5 and try to be somewhat ‘witty’.
Paint me a picture of Public Body in ten years. Where would you like to be?
10 years is mad. I’ll be 40. I refuse to think that far ahead. Sorry!
What would you change about the music industry?
I’d turn streaming services into co-ops so musicians can own and control them.
We are Greg, Katie and Lilly, and after thinking long and hard about how we’d describe our music, we’ve finally settled on ‘doom pop’. It’s like outrageous heavy riffs that borders on metal, but still with pure pop hooks at the core. It’s sickly sweet and foul all at once, and a hell of a good time to play live.
You formed Sit Down as a two piece. Was that about exploiting the creative benefits that come from limitation?
Greg and I met about 8 years ago when I was recruited as a vocalist for a band he was in, and it didn’t take long at all for us to realise that we were just built the same way. After years of various projects since then, Sit Down was actually born from a time when Greg was working at a theme park in Virginia and I was working on a boat in NYC. We knew we wanted to make a new project that was brash and loud and powerful, and we started sending demos back and forth to one another until he packed it all up and moved in with me in New York, and we just went to all these amazing gigs that inspired us so much.
At that point I couldn’t play any instruments, which was going to be a problem if we were going to be a 2-piece, so the first thing we did when we returned to the UK and moved to Brighton was Greg started teaching me how to play the drums. Luckily he’s a very talented multi-instrumentalist and I’m very stubborn, and I really connected with the drums as it was the only instrument that I actually played better the more annoyed I got. But yeah, there was definitely an interesting thrill in seeing just how much noise we could make with only two pairs of hands, and it’s been a rollercoaster ride ever since then.
You guys are well known for your beautifully curated stage outfits – what is it that excites you about making Sit Down a visual as well as sonic spectacle?
That’s kind of you! From a young age I was very interested in sewing and making clothes, I think I just watched too much That’s So Raven. Thankfully Greg was totally on board when I first mentioned making clothes for us to wear on stage, as when there’s only two of us and one is sitting down at the back behind a load of metal, you’ve gotta find creative ways to make it still interesting to look at. That being said, Greg has drawn the line on some of the outfits I’ve made, one notable one was a bright orange PVC polo shirt I made for our Reading and Leeds set that just slowly inflated as he played.
You recently added a third member to your line up, amazing Brighton bassist Lilly. Has it changed the way you write or was that more about developing the band’s live impact?
Although I’ve banged on about me and Greg a lot, we’re absolutely blessed to now have Lilly on board with us. After many years as a two-piece we really were starting to find ourselves getting stumped creatively, and bored of hearing ‘You guys are good for a two-piece’. It was just like why can’t we just be good full stop! Having Lilly join us has just reinvigorated everything, and has really created this holy trinity of vibe.
In terms of the writing process, I’ve always likened our roles to Greg being the architect and I’m the interior designer. It takes both parties to build a beautiful house, but with just the two of us, if we ever disagreed it would bring us to a stalemate. Having Lilly on board is the perfect democracy, she has impartial eyes on both sides and can help morph the vision into the exact thing that makes us all buzzing. Before her, I’d say we were almost ready to pack it in. Now we’re more excited than ever.