Attacking hard topics through observational, commentary-style music, Glitched aren’t ones to back away from difficult topics that people will engage with. Describing their sound as a Kate Bush and Maxi Jazz lovechild, Glitched take inspiration from The Clash, Alice Glass and Leonard Cohen, fusing their effects together to make a jarring but brilliant sound unlike any other circulating the London music scene. Glitched will be debuting their completely unique live show at festivals this summer, including Truck Festival (15th July), Y Not Festival (19th July) and Down To The Woods (14th August).

Working with Marta Salogni and John Davis for their new track “Movements”, they explore the issue of sex-trafficking and the silence that surrounds problems such as these. Providing a bit of respite from your standard love songs, “Movements” shows just how talented and unique Glitched are, in both their song subjects and musical compositions. With both female and male vocals layered over the intricate weaving of a heavy bass and electronic, industrial sounds, “Movements” is a track you’ll feel to the core.

What makes you want to create music?

I think there is a different answer depending on who in the band you ask. The one constant though is to make music that we like, about issues that we care about… second to that is of course world domination and to live in decadent luxury on top of a Swiss mountain, stroking a cat.

How did you come together as a band and where did your name come from?

In our alternate reality, we all met on the last night of Burning Man. Sadly, the truth is as they say… more prosaic. Two of us met in Brighton and we met our third musketeer in Scotland, sharing a room in a hostel. It was love at first sight, so we invited him out for a cuppa. Things got a bit messy… a few well-timed photos and a bit of blackmail later… we were hitched – as Glitched. We like to think our name represents our sound, our fraught relationship with our gear, and that jarring feeling you get when you stop and think about the relentless amount of shit going on in the world.

What messages do you want to spread with your music?

This is a big one. The danger with messages in music is ultimately… if your sole objective is to make a point, it can be pretty reductive. We’ve all heard it all before, and your Facebook feed is probably depressing enough already. So, we want everyone listening to be entertained. But that doesn’t mean the brain can’t be engaged at the same time. If there is a message, it’s that we’re getting that Glitched feeling a little bit too frequently these days. Maybe not for the one percent, but these songs are for the other ninety-nine anyway.

How would you describe your sound?

Like Kate Bush and Maxi Jazz had a psychotic love child on a factory floor, but couldn’t agree on a name so they put it up for adoption.

You obviously aren’t ones to shy away from hard topics – why did you want to discuss sex trafficking in your single ‘Movements’?

Why would you shy away from hard topics?! Sex trafficking is a blight, and it’s getting worse as the refugee crisis deteriorates. In addition, the silence from the creative community is deafening. It’s as though this problem doesn’t exist, so someone had to do this and it’s us. We genuinely feel if the song moves the needle one degree, it will have done its job… but we’re not holding our breath. We know it’s not Christmas number one material, but its too important an issue for that… I’ll get off my soap box now.

Why do you like making observational and commentary-style music?

Honestly, it’s what moves us to write. Singing about unrequited love is at this time, of less interest to us. What speaks to us is what’s occurring out there in the world… like sex trafficking. Like the rise of the right. Whatever gives us that jarring feeling… The list goes on. We’re just making observations, but if there’s the slightest chance that people will engage with these topics after hearing us then that’s a bonus.

You worked with both Marta Salogni and John Davis on ‘Movements’ – how did this collaboration come about?

We knew of Marta’s work with M.I.A and Philip Selway (Radiohead), and thought she would get what Glitched are about. So we pitched our song to her, and she was gracious enough to give us a few days of her time. She even introduced us to John, to give the track that added flair. She really knows how to crack the whip. It was a splendid session indeed. We’re on our way back this Summer, to make another little ditty for you.

Who are some of the artists that you take direct influence from?

That’s a mash up of the great, the good and the positively unknown, and you’ll probably get a different answer depending on what day you ask and what the weather’s like outside. A’s influences you may have heard of: The Clash, fright wig era Dylan, Mr Leonard Cohen… though we can’t forgive him for the unintended consequence of Hallelujah, the default song of every crap pub singer looking for emotional engagement. Urgh. As for our contemporaries, we fell in love with Alice Glass after seeing her ditch her crutches on stage mid-set despite what must have been a broken leg.

Do you think the London music scene has had an effect on the musical direction you’ve taken?

Without resorting to too many cliches, London is and will *hopefully* remain a cultural and musical melting pot. Here’s a secret for ya… Despite the onslaught of years of trivial no-factor pap and gentrification, in London if you dig deep enough, you’ll find an endangered species – people who still regard music as more than a free fashion accessory. It’s these people who are the greatest influence on Glitched.

What are you planning for the rest of the year?

We’re playing a number of festivals and shows including Y Not, Truck and Down To The Woods, followed by our second single after the Summer. See you in the fields. I’ll be the one in the giant parrot head.