TRACK REVIEW: Pillow Queens - Child of Prague

TRACK REVIEW:

Pillow Queens

PHOTO CREDIT: Faolán Carey

Child of Prague

9.6/10

The track, Child of Prague, is available from:

https://www.youtube.com/watch?v=8SnyQ0RxutE

The album, In Waiting, is available via:

https://pillowqueens.ffm.to/inwaiting

RELEASE DATE:

25th September, 2020

GENRE:

Indie Rock

ORIGIN:

Dublin, E.I.R.E.

PRODUCER:

Tommy McLaughlin

LABEL:

Pillow Queens Records

TRACKLIST:

Holy Show

Child of Prague

Handsome Wife

How Do I Look

Liffey

A Dog’s Life

Gay Girls

Harvey

Brothers

Donaghmede

__________

THIS is quite a special review for me…

as I get to review a band who I have known and been aware of since (almost) the start of their career! When I say ‘known’, I sort of mean know about, as I was struck by Pillow Queens from very early on. Rachel Lyons (drums, vocals), Cathy McGuinness (guitar, vocals), Pamela Connolly (bass, guitar, lead vocals) and Sarah Corcoran (guitar, bass, lead vocals) performed their first London gig a few years ago at The Finsbury. I was hosting a special night that celebrated promising new bands and, memory evades me, but they were on the bill with a couple of other great acts. I was keen to meet them and see them play live, as they had blown me away with their sound and I had heard nothing like it. That night in October was great, and a lot of friends of Pillow Queens’ came down. They stormed their set, and, after that night, I had no doubt that they would go a very long way! That almost sounds like I am claiming that their success is down to me – of course it isn’t! More, it was a feeling that was very evident when you hear them play. Not only is now the perfect time to review them because their debut album, In Waiting, is out – and gaining hugely positive reviews -, but it is great to see how far they have. They are getting the kudos and attention they deserve and, also, the Dublin band – though the members are from various parts of Ireland – take my mind back to Irish music and what a strong and original scene there is there. I think there is still too much focus on London when it comes to new acts, and I feel there is always going to be a degree of favouritism towards the capital. More and more, Ireland is showing that people need to look in the direction of a nation that has always produced stunning music. Pillow Queens are one of the brightest and most arresting bands for years, and I would not bet against them becoming festival headliners in the next few years.

In terms of how they started out and where they met, I can help with that. The band spoke with KEXP earlier in the year and were asked about that:

“KEXP: Tell me a little bit about how the band started and how you all came together.

Sarah Corcoran: So we have a story about how we met on a basketball court. It's about 60 percent true, which is enough to make it true. Myself and Cathy met on a basketball court around the time that we started the band. So it kind of is true. But Pamela knew Rachel and Cathy for like 10 years. I've known you for like six years or seven years or something like that. So we all kind of knew each other through each other. We just wanted to start a band because we'd all do musical projects before and we were sort of ready to start something new. We wanted to be in a band that toured. We wanted to be in a band that recorded and we wanted to just take it a bit more seriously. Everyone was on the same level so we just decided, "let's do it". So we've been nonstop since we started everything, which is great.

You were all in bands before forming Pillow Queens. What's the Irish music scene and community like?

Pamela Connolly: It's amazing. I guess maybe when we were all in bands, it was a little bit before it became as good as it is now. Most of us were in bands during the recession. So it was good, but people would get taken advantage of a lot. But now the scene – not even just Dublin, all around Ireland – is amazing. The scene coming out of Limerick is class. And it's not just guitar music. It's hip-hop. It's R&B. There's a revival with trad and lovely folk music as well. The scene is really strong and people are taken a lot more seriously now being from Ireland. I hope it keeps going that way and it just gets better. But I highly recommend [to] look up as many Irish bands as you can because they're all pretty good. We're only OK [laughs].

Corcoran: Irish bands really support each other at the moment, which is really nice. I mean, maybe that’s always been the case, but definitely, from our experience of being in Pillow Queens, we’ve received support from bands of every genre on touring, recording, on just getting local gigs. One of the guys from Bitch Falcon lent me a bass for this session because my bass is terrible and I can’t afford to buy a new one. So I was like, “Can I borrow a bass?” And he was like, “Yeah, absolutely!” Just gave me his bass for this.

Sarah Corcoran: mean, writing is always cathartic anyway. So you can put your worries into a song and then it’s just like boxing them up and not dealing with them [laughs]”.

Everyone knew, at that Finsbury gig, that Pillow Queens were something special but, before that, the home crowd realised the band has a buzz and quality that was impossible to ignore. I think it is important to look at Pillow Queens’ start, as it is as important to the creation and road to their album as anything else – in the sense that one can see get a fuller picture of the band and their past, rather than just looking at the song on their own. Their first gig was in Dublin and, as this interview with The Irish Times shows, Pillow Queens got an unexpectedly impassioned response:

“Their first gig was as low-key as you can get, a fundraiser for rescue dogs in Bello Bar in Portobello, Dublin 8, in December 2016. On arrival, however, the stairs down into the basement venue was jammed, with people turned away from the sold-out show. The word of mouth was instant. “I had no idea why we sold out the first gig,” Connolly says, “Even before we played, we had already been booked to play Ones To Watch [a Whelan’s showcase]. Nobody had watched us yet, so we didn’t know we were ones to watch. We got that, and after that we said ‘yes’ to everything.”

“Yes to everything” now sees them in and around the 40- to 50-gig mark over the year and a half they’ve existed as a band. As the rumblings of approval from bookers and labels grew, and the industry presence at their gigs increased, a manager came along in the form of drummer James Byrne (ex-Villagers, Soak), who owns the Any Other City label and also manages Girl Band”.

PHOTO CREDIT: Vanessa Ifediora

There are a few things that I want to tick off the docket before I get down to reviewing a track from In Waiting. I want to look back to last year because, as the band were thinking about their album and building their profile, it was that important transition between early success and recognition and taking those next (big) steps. Maybe there was a sense, in the beginning, that Pillow Queens – when playing live – just went and performed the songs and, maybe, there was a slight nervousness. Any band starting out is going to concentrate on making their performances as solid as possible, and there is not always that confidence to speak out or call the shots. Pillow Queens definitely acquired greater confidence through 2018 and, when they spoke with PASTE in 2019, they remarked how they were definitely more assured and confident:

“Pillow Queens have undergone their own growth as well, since it’s been the most consistent music project for the band members. McGuinness says of the group, “I think we have more confidence. When we first started playing gigs, we were a little bit unsure with the language talking to certain engineers and having the voice to say, ‘It should be sounding a little bit different.’”

Or, as Lyons so beautifully puts it, “We’re definitely more cock-sure.”

The self-assuredness comes across when their goals for 2019 come up. There’s mention of wanting to play more across Europe or tour with another act in the States. “I mean, that’s one of my big reasons for being in a band as well, is the opportunity to travel and see tiny venues and eat hummus in every single state of America,” Corcoran jokes”.

There was an energy and ambition in the band from very early on. When I saw them play, I could definitely tell that they wanted to play a lot more gigs in the U.K. and, beyond that, they had ideals to tour widely. A lot of newer bands are happy enough to play smaller gigs to get experience and learn their craft, yet Pillow Queens seemed fully-formed and they were eyeing up a bigger stage!

PHOTO CREDIT: Paul Gerrard

When they spoke with The Irish Times, it is apparent that one member, Sarah Corcoran, definitely provided Pillow Queens with a fire and spirit that has helped get them where they are now:

“On that can-do attitude, the band agrees that Corcoran is the one who gives them momentum. “I don’t think we’d be where we are now if she didn’t have a jetpack on being like, ‘we’re going to get this,’” Connolly says of Corcoran, “When we started the band – myself and Sarah – we weren’t even a band. We were sitting in the apartment not even fully having any songs, and Sarah was like, ‘I think we can play Electric Picnic this year.’”

Corcoran says she had a definite idea of the direction she wanted to pursue, “that the band needed to be a certain outfit made up of certain talented people. I feel like I was lucky enough to be paired with these guys, so I suddenly had something that I was able to drive. I know what we’re doing is great, now it’s time to show everyone else that it’s great. I was saying that we could do a UK tour even though we were only four months old”.

I am going to wrap this review up by talking about politics and how that feeds into Pillow Queens’ work but, at this juncture, I feel it is important to address a subject that is a big part of the band’s music and spirit: queer identity. As a band of four queer musicians, it couldn’t not be a vital fountain of inspiration; more than that, it is something that is very natural. I think we are so used to having this heteronormative ideal of music and the fact songs are about boy-meets-girl. There are more queer artists and those in the L.G.B.T.Q.I.A.+ spectrum, but I still feel there is a sense of reluctance from the industry and many listeners to embrace different sexualities.

When they chatted to KEXP, Pillow Queens were asked about the song Gay Girls and, whilst it is not entirely about queerness (there is a religious aspect), it is an aspect of the track:

“Queer identity seems to come through in a lot of your music. Pretty directly in songs like "Gay Girls." Is it important for you to share that perspective in your music?

Connolly: And yes and no. I think it's it's hard to not because it's so much a part of your identity that when you're writing it just comes out anyway. Then someone may ask you a question like, 'Oh, you're really trying to protect your career identity.' I'm actually not. I'm just writing the way maybe a straight man would write about his experiences, I'll write about mine. We'll write about ours. So it's not at the forefront of our mind, but we do know that it's important. But I don't think it's a thing that's always on the table. It just happens. It's not conscious. And I like it that way because I think if we were trying too hard it would come across that way. I like casual queerness [laughs].

Corcoran: I think as well, a song like "Gay Girls," the title would make you think that it's a song about queerness, but it's only really on the very cusp of being a queer song. The title, obviously, but it's more a comment on religion and that sort of thing. I mean, the wringing hand imagery is like... We can't help but write about religious things. We all were brought up in very religious environments so it always comes out. And because I suppose queer themes are so contradictory maybe of like religious themes, maybe that's where the juxtaposition happens”.

Some might say that queer identity and promotion is gimmicky, but it is an integral and natural part of Pillow Queens’ identity. The band, as they told The Line of Best Fit this month, are keen to talk about their queerness – and, also, many peopledo not realise that they are queer at all!

“It was also the intention that the band would consist of four queer women. Queerness is in the very DNA of Pillow Queens; their foundation built on being visible as queer artists, with In Waiting featuring song titles such as “Gay Girls” and “Handsome Wife”. “That was something that was important to us,” says Corcoran. “I’ve been in bands before where we were approached by a queer publication, and the other members of the band were like: ‘We don’t want it to be a gimmick, we don’t want to make that a thing’. And it’s like, okay, it’s not gimmicky, it’s just a big part of my identity that I don’t wanna be hiding. I don’t wanna feel like we wouldn’t do any queer press. With Pillow Queens it’s the total opposite to that.”

“[We would] welcome it. We don’t get enough,” Connolly laughs, before quipping, “I don’t think people know that we’re gay.”

“This is our coming out article,” Corcoran replies, tongue in cheek”.

“As if in answer to those years of grief and shame, In Waiting feels like a celebration of queerness; of queer love, queer joy and queer identity. “Handsome Wife” is a beaming reflection on the glee of being in love (‘The silence is so soft / I’m gonna be free’), while "A Dog’s Life" sees them take pride in identity and community despite the coldness and inequity of the society around them; all of this viewed through a prism of queerness that is recognisable almost innately to those who share in it.

“There’s so much emphasis on negatives, and homophobia and hate, and that’s not what being queer is. There’s so much joy in it,” Corcoran says. “I found myself through queer art and queer performance, and finding that community.”

“Unfortunately, it is mostly in moments of negativity that you become very aware of [your identity] — it usually has to do with safety and stuff,” says Connolly. “But then there’s moments of positivity—older people reminiscing about their youth, saying: ‘Hey, I wish there was a band like you when I was growing up.’ Or younger ones being like: ‘I’m so glad to see people like me on stage”.

The last point that I want to explore before reviewing is that, as we are still locked down and restricted, it is a very strange and tough time for any artist to release a debut album – or any album. Pillow Queens were thinking of delaying the release but, with no real definite end in sight, they knew that they had to put the album out. The band have worked so hard to get to where they are, so they would have loved to perform these songs and do a much more expensive promotional tour (although they have got some dates in the diary that, whilst scaled back, will allow people to hear them play these new tracks). It seems that lockdown was not necessarily that much of a nightmare for Pillow Queens.

They talked to CLASH and discussed what it was like releasing an album at a very uncertain and odd time:

“Among all the chaos of COVID-19, it was never going to be easy to release an album - and a debut one at that - but they found a way to make it work for them. Pamela describes her experience. “I think it’s been different for a lot of people. I think it’s hard to complain too much because I’m healthy and all the girls in the band are healthy.”

We spent it separately so it was hard to keep up the creative aspect of the band. Had we at least been within 2km of each other, we could have potentially still worked on [creative] stuff but, in saying that, I think we may have benefited in regards to releasing the album, because there was a lot of admin stuff to do, there were a lot of contingency plans in terms of how we could get enough money to release the album and, during lockdown, that’s when we all did that. I think if the lockdown didn’t happen, that would have been a lot harder to figure out”.

‘In Waiting’ is actually being released independently by the band. Speaking of the debut album, Pamela is “super excited” to be sharing ‘In Waiting’ with their fans. She describes creating the album as “awesome” and a way for the band to really develop their sound. “It was a labour of love”, she jokes. “I think it’s a weird time to be releasing an album but I think it’s the right time for us”.

I shall move things on now and, rather than review the entire album – as I would not be able to give every song proper justice -, I have selected Child of Prague to review - and I would urge people to buy In Waiting (there is a link at the top of the review).

Pillow Queens performed Child of Prague for KEXP, and it is one of my favourite songs from In Waiting. At once, one is interested in and affected by the song. I am not sure where the title comes from – I forgot to ask the band -, but I was instantly intrigued by the lyrics. The introduction provides this combination of flames and coolness. The guitar and drums have a spark and flow, but they also seem laidback at the same time. It is a brilliant sound, and I was already hooked and curious to hear what came next. When the first verse arrived, the words made me conspire and imagine: “I'm sitting on a fortune don't you know?/You ruined it by leaving me outside in the snow/Now my head's in the ground, my neck is weak/Do us all a favour and forget how to speak”. If one took the lyrics literally, you would be going off in various directions and it might be a little weird and disconnected. For me, it is metaphor and there is an oblique nature that allows for a sense of personal interpretation. I prefer not to know the origins of a song and what inspired it, because I think it can take something away; one goes in knowing a bit too much and something is lost in terms of flexibility and imagination. The band’s performances are stunning, and their musicianship through Child of Prague is amazing. Whilst the composition is not too intense or punchy, there is the perfect blend of notes and emotions that gives the song life and depth! That may sound like a weird sentence, but what I mean is that the band combine a verse that has this mystery with a composition that adds so much story and feeling. What I love about the song (among other things) is how Pillow Queens defy convention and the obvious. Rather than Child of Prague being a simple verse-chorus-verse, they follow the first four lines with a distinct passage that changes pace and tone.

The line “I'm not going” is followed by some gorgeous backing (some ‘oohs’ sung beautifully), as is the line “If you're not with me”. I love that passage, and I was listening to the words and how they were sung. There is that lingering curiosity and mystique that makes Child of Prague so arresting. Before we get to the brief-but-beautiful chorus with those incredible backing vocals, there is more light to be shed. “Cover me in kindness, cover me in sand/A lover or appendix or a whole new strand/I wanted clearance, a release/Need you to tell me I'm a masterpiece” is one of the more direct stages of the song, whilst the language employed is among the most imaginative and striking. My thoughts turned more to the subject of love and faithfulness, but there is that feeling of contrast and doubt. The composition, again, manages to remain quite restrained whilst adding in so many subtle layers and nuances. The way the drum, guitar and bass move and combines is incredible! Combine that with an amazingly strong lead vocal and words that make one stop and think, and the song is one that you will repeat again and again. Before the song ends, there are another couple of distinct phases. Pillow Queens follow the chorus with an instrumental break that is full of melody and heart. It is dreamy and lush, but I detect a sense of pondering and sadness too. The lyrics suggest some form of heartbreak and struggle, and one feels that in the composition. Other bands would add in words and needless exposition, but Pillow Queens leave it to their instruments to both provide a sense of explanation and obliqueness without a single word being sung. Then, our heroine sings: “Leaving me out on my own/Leaving me out in the snow”. That is repeated. The song ends with the lines “Leaving me out on my own/Leaving me out” before the composition wrap things up. I have gone back to Child of Prague again and again, as I think one picks up different things the more you listen. It is a tremendous song from an album that has so many wonderful moments and stories. I particularly love Child of Prague because it has this immersive quality, but there is a depth and seriousness that gets into the mind and will linger on. Such a powerful and fascinating song from a band who have crafted one of the best albums of 2020.

PHOTO CREDIT: Faolán Carey

In concluding, I want to bring into the frame the way Pillow Queens fight for social justice. There are a few bands out there that go beyond the music and act as champions for various causes. Pillow Queens talked to The Line of Best Fit about political and social justice in their music and, whilst this is important to them, they do also want to just write about love and relationships – and, as queer artists, they feel it is unfair for that to be labelled as political:

“Both inside and outside of the songs themselves, Pillow Queens have consistently used their platform to stand for matters of social justice. Over lockdown, they took part in Irish Women In Harmony, a collective of musicians using music to raise money for domestic abuse support charity Safe Ireland; they’re participants of Keychange, an initiative that seeks to address the gender imbalance in the music industry; at gigs, they’ve spoken out against Ireland’s inhumane Direct Provision system of housing asylum seekers; and of course, to be freely queer women in a country that still grapples with a long culture of homophobia and misogyny can be in itself a political act.

It’s a responsibility that they value, yet equally one that they’re wary of. “As individuals, we feel very strongly about a lot of stuff, but I don’t think we should be looked at in terms of ‘all of their music should be protest music,’” Connolly says. “Because if you get a band with four lads in it, they’re not expected to continually make music that is about a political struggle. And sometimes you wanna exist in that world, where you’re like: ‘I wanna write a love song’. But for the fact that this love song is about queer love, it is suddenly political. So we are put into that box, which we thrive in and enjoy; but it’s hard to exist and also be a political entity”.

PHOTO CREDIT: Faolán Carey

Pillow Queens’ debut album is out, and it marks a very important chapter for a band who, whilst they themselves might not completely have believed it, were always primed for huge success! Everyone who has seen them play live would agree, and I think the future looks very promising for them! I guess it is strange having ambitions and making plans with a pandemic happening, but there is an optimism and confidence in the band that looks beyond that – they know that, when things start to return to normal, they can get out there and strike - but a few gigs in the calendar for next year will allow them to stretch their muscles! When they spoke with The Forty Five prior to In Waiting coming out, the subject of future plans came up:

“With the band’s debut album, ‘In Waiting’ on the way, have the nerves taken over?

“I’m terrified!” Sarah laughs, “It’s coming out in September and this is our first piece of work that’s really thought out. We’re happy to stand behind it as our first album so it’s this huge deal for us.”

Pamela is feeling quietly confident about the body of work they’ve pulled together. “If we had put it out earlier in our career, it probably wouldn’t sound the same at all. When we were releasing ‘Gay girls’ or ‘Brothers’, we had found the sound we wanted. Before that, it was a little bit inconsistent because we’re still growing as a band, so it’s nice to release this as our sound in one package.”

As the band is making big moves, we ask how they’re feeling about the future. “I’m very optimistic which maybe is not the best quality as a musician, because sometimes it doesn’t happen. Sometimes a global pandemic happens when you’re meant to play South by Southwest!” she says of the band’s cancelled appearance at the Austin festival, “But I’m really confident in what we did with this album and if all things go in our favour, there’s no reason that we can’t be worldwide superstars!”.

Those last two words are very important, I think. Pillow Queens, very much so, can be worldwide superstars! They are a band who have been taken to heart by so many people, and their popularity will only grow! Can they go on and rank alongside the very best bands out there? For me and so many people out there, there is absolutely…