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Taken from the Autumn Issue of Wonderland

Rosa (left) wears top (worn underneath) AMERICAN APPAREL, top BLK DENIM, tights TOPSHOP. Jenny (right) wears top THEORY, vest NASIR MAZHAR, jeans MODEL’S OWN, tights (worn underneath) MY TIGHTS

After school activities in your late teens normally include chasing after boys and not doing your homework, but for 17-year-olds Rosa Walton and Jenny Hollingworth — AKA Let’s Eat Grandma — their free time has, for the most part, revolved around writing debut album, I Gemini. Let’s Eat Grandma, a name the self-proclaimed witches took from the common grammatical error, and not from a macabre, cadaver-related hobby, are the eeriest, most magical girls in psych-pop.

Norwich’s Hollingworth and Walton have been inseparable since the age of four, and despite parting ways for most of their education, their natural sister-like bond is hefty. Joking that they are both actually witches, Hollingworth recalls how “[Rosa] put a spell on me — I had to join the band. I thought: ‘Dammit, I wanted to be a lawyer’.” Indeed, the duo is so in sync (both in attitude and looks) it’s easy to imagine that to the unknowing eye, they would be mistaken for twins. Bonding over Enid Blyton’s fantasy saga The Faraway Tree as children, Walton and Hollingworth tapped into their witchy roots and built magical treehouses to escape the real world — citing Bart Simpson’s very own oaky sanctuary as inspiration. Perhaps it was this time spent together — immersing themselves in a make-believe world full of the weird and wonderful — that galvanised their tripped out psych sound. “I don’t think we ever really intended anything when we started out. I think we were doing it all as a big experiment, and I think it continues to grow like that,” explains Hollingworth.

Despite their Rapunzel-like hair, Let’s Eat Grandma are anything but your average Disney princesses. “We both play keyboards, guitars, drums and sing. Jenny plays the saxophone…” says Walton. “Rosa plays the harmonica, and we both do some mandolin and glockenspiel,” Hollingworth adds. It’s like they were never told that it’s hard to play more than one instrument at once.

Many of the tracks on I Gemini evoke darkly cartoonish imagery, mixing fairy-tale-like piano melodies with bone-chilling guitar riffs and haunting lyrics. But it’s their ability to breezily contemplate the trials and tribulations of modern-day life through song that, for a pair of late adolescents, really sets Let’s Eat Grandma apart. “What is reality?” Hollingworth quizzes when I press her on this. “[The album] talks a lot about escapism. It’s got a lot of vivid imagery, but it also takes the piss out of a lot of things… It’s about how we experience the world, about senses,” whilst Walton continues, “It’s about observations of people; it’s about dreams.” The sound is raw, gritty, hallucinogenic, and taps into your subconscious; it’s a sound deemed psychedelic, sludgy pop for a reason.

Recorded in Norfolk’s Old School Studios — an ex-nuclear bunker, which came fully equipped with lava lamps, ghosts and old analogue equipment. “The first set of songs we wrote weren’t actually planned to go on an album together,” says Hollingworth. “We were like: ‘Well, we’ve written these now. And they were like: ‘Why don’t you release an album?’” Never ones to let the bosses tell them what to do, the pair contemplated their next move, hard. “I’d say we’re quite head-strong about what we want, poor them… [Our creative process is] like a very long jam session, for ever, and ever, and ever.” “We just keep playing shit and seeing what happens. Then we do some spells,” adds Walton. Any more information about their potion-brewing, ghost-summoning and magical chanting is not to be divulged to us mere mortals. “All our other secrets are up our long, witchy sleeves,” she jests. It’s almost like Let’s Eat Grandma aren’t aware that rules exist; let’s hope they never realise.

Photography: Johanna Nyholm

Fashion: Abigail Hazard

Words: Annabel Lunnon

Hair: Sarah Jo Palmer

Makeup: Verity Cumming using TOM FORD

Fashion Assistant: Eva Klein

Art Direction: Kat Jenkins

Thanks to Apiary Studios

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Camille Rearden, independent promoter

Britain’s music scene has always been spearheaded by independent promoters, bookers and organisers, aka the unsung heroes that make all those gigs, singles and festivals actually happen. For the inaugural INDIE50 Awards, a new award celebrating the talent that lies in the independent music community, an open, public nomination phase was followed up by the Award’s judging panel (which included the likes of BBC 6 Music’s Tom Ravenscroft and Pitchfork’s Laura Snapes) to pick the final 50. The result is a group of diverse music industry heroes; 50 people that keep the cogs of the British independent music industry turning.

The Award doesn’t just cover bookers and promoters, artist managers, journalists, festival organisers and even a Bristol local celebrity named Big Jeff (famed for his superhuman commitment to gig-going) made the INDIE50. Among those honoured is Camille Rearden, an independent promoter, Craig Johnston, booker at King Tuts in Glasgow, Julian Deacon, founder of Raygun Management and Kate Hewett, booker at both The Harley and Tramlines Festival. Dave Newton, co-founder at WeGotTickets, the company behind the award said, “we started out in 2000 as a small ticketing company working on local gigs in Oxford. We now work with thousands of venues and promoters across the UK, and we’ve seen first hand, time and time again, the effect that certain individuals can have on a local scene. INDIE50 is all about celebrating those people and giving them some recognition on a national level.”

Along with the INDIE50 Awards, 1st September will see the INDIE50 photographic exhibition launch. Commissioned to shoot each of the INDIE50, music photographer Dan Wilton travelled the country with journalist Josh Jones to photograph the people that make up the core of Britain’s wonderful independent music industry. All shot on 35mm film, the images capture the energy and passion of the INDIE50. The exhibition will also be accompanied by a limited edition zine produced by journalist Josh Jones, featuring interviews with the INDIE50. 

Jamal Edwards – Founder, SBTV

Jeff Horton – Owner, The 100 Club

The exhibition will run 1st-8th September at 71a Gallery in London.

Words: Annabel Lunnon

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Oxford Street would be nothing without fashion mecca Topshop. From tomorrow, our beloved store is showcasing Topshop & Guests, a ten day extravaganza of fashion, fashion, fashion.

Our faux-furry friends Shrimps will be in the mix with their super-cute capsule collection, ‘Shrimps Silkies’. Slipping into summer, the collection reaches out to the playful pattern lovers who would die for their iconic hand-sketched characters. The RTW items will include a flared jumpsuit, simple summer dresses, elegant-fitting dresses, and a classic button-down shirt with quirky hand-drawn faces and graced with delicate lace and coloured trims. It will glide you into pure-silk pleasure and will be sold alongside their key items from their Pre-Spring collection.

Catbird, cult Brooklyn-based jewellery brand that has gems of wisdom when it comes to layering, will be showcasing their collection of recycled and fair-trade gold stacking and delicate knuckle rings. There will also be sparkling necklaces and simple earrings and bracelets on sale, which were produced in Catbird’s independent studio. This is Catbird’s first trip to the UK and who else better than Topshop to welcome them in.

Those with haphazard styling glitches will be happy to hear that Bay Garnett, world-renowned style-queen, will be hosting private personal shopping appointments in Topshop’s VIP suites. Fabulous. Not only that, but each appointment comes with a complimentary copy of Garnett’s ‘Fanpages‘ featuring wonder-fave Chloe Sevigny on the cover. Could it get any better? We know right.

You can apply for tickets for all appointments here.

Words: Lizzie Griffin

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