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Künstler im Rampenlicht: Mann/Frau/Kettensäge – Unsere Kultur

Man/Woman/Chainsaw is a band based in London, consisting of vocalist/guitarist Billy Ward, vocalist/bassist Vera Leppänen, vocalist/keyboardist Emmie-Mae Avery, violinist Clio Harwood, and drummer Lola Cherry. Ward and Leppänen have been playing together since they met in secondary school, and have celebrated their 100th gig before even releasing their debut EP, Eazy Peazy, earlier this month on Fat Possum. The EP, which features 6 tracks, was recorded with Daniel Fox of Gilla Band. The band’s sound is described as scrappy yet sweepingly chaotic, with a focus on cacophonous and epic arrangements. Despite their diverse musical influences, the band continues to evolve and push boundaries.

We spoke with Billy Ward, Vera Leppänen, and Lola Cherry of Man/Woman/Chainsaw for our Artist Spotlight series, discussing their dynamic as a group, the making of Eazy Peazy, their approach to songwriting, and more.


The band released a live performance video at the George Tavern on the day Eazy Peazy was released. How was it to perform the EP live in that setting?

Playing the EP live was fun, despite the pressure of a one-take performance. The band enjoyed the energy of the performance, even with the challenges of a hot day and technical difficulties. The unedited nature of the video captured the band’s live show experience, including small mishaps that added to the authenticity of the performance.

As the band continues to perform their songs live, they notice changes and evolution in their sound. While recording freezes the songs in time, live performances allow for growth and experimentation. The band’s chemistry on stage has improved with each show, creating a cohesive and dynamic live experience.

Introducing new song ideas to the group can still be nerve-wracking for the band members, but they have developed a sense of comfort and trust in each other’s abilities. Despite occasional distractions and moments of self-consciousness, the band continues to support and encourage each other in their creative process.

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Additionally, if I produce quality work, it has the potential to capture someone’s attention away from their phone.

When I was younger, I saw Shame on their first album tour in Kentish Town, and it had a profound impact on me. The energy and youthful vibe of the crowd, combined with the coolness of the band members, particularly Charlie Steen, left a lasting impression. While many other shows have inspired me since then, that particular concert was a pivotal moment for me.

I always knew I wanted to pursue something music-related, although I initially hesitated to admit that I wanted to be a singer. Growing up surrounded by music, it felt like the natural path for me to take.

I started writing songs around the age of 12 or 13, collaborating with friends and family. Despite others‘ praise for my songwriting abilities, I personally feel like I still have much to learn in that area.

My early exposure to dance and musical theatre classes instilled in me a love for performing. While I initially viewed musical theatre as my primary interest, I eventually gravitated towards rock music for its cool factor.

Coordinating rehearsals can be a nightmare, especially with a band of six members all juggling jobs and university. It can be challenging to find time to meet up, but we make it work.

The bond between band members solidifies when you have a group of dedicated individuals who are passionate about the music. It’s not just about the instruments; it’s about the people who consistently show up and contribute to the group.

Adding keys and violin to our rock band lineup felt like a natural progression, enhancing our sound and adding depth to our music. The core group of two guitars, bass, drums, and two singers remains the foundation of our sound.

Joining a band is like a fast track to forming close friendships. Spending so much time together, sharing tight spaces, and creating music together fosters strong bonds among band members.

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When I first saw Billy and Vera perform at Dublin Castle in Camden, I was impressed by their stage presence and confidence. Joining the band, I initially struggled with feelings of insecurity about my own abilities, but I always admired their talent and coolness. I wasn’t accustomed to playing a specific genre of music because I mostly focused on classical music and musical theatre for school plays. I believe my style leans more towards rock drumming.

VL: Yeah, you’re always so loud, bro.

BW: When you first started, your music was more influenced by the soulful music you listened to.

LC: Definitely. I loved playing that kind of music, it was very relaxing.

VL: It’s hard to imagine that now.

LC: I remember struggling to keep up with the fast pace of a punk rehearsal with you and Emmie. But I’ve grown a lot since then, especially playing in a band. Playing with others is incredible – it’s the best feeling. Drumming alone is not the same; what’s the point of that? Practice is important, but drumming in isolation for the rest of your life doesn’t make sense.

How do you think your dynamic has evolved, especially in terms of communication during rehearsals?

VL: We are good friends first and foremost. Working with friends in a professional setting can be tricky. It’s easy to get distracted and not take things seriously.

LC: We’re always laughing.

BW: Arguments can sometimes be taken personally.

VL: But overall, it’s positive. I feel more comfortable with you guys than with any other musical project I’ve been a part of.

LC: Our friendship goes beyond just being friends. We can argue and move on, and that’s fine. We can just get things done.

BW: We have a clearer idea of our stylistic preferences now. We are more focused on our project and the sound we want to achieve. We are more confident in our writing process.

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How do you create space for the different aspects of your sound, which you have described as a balance between pretty and noisy?

BW: It’s more about arrangement, dynamics, and mood within a song rather than just being pretty or noisy. We use contrasts for nuance in our music.

LC: Our loudness isn’t just about individual volume; it’s about creating a dense wall of sound collectively, especially on stage.

BW: We aim for a specific sound instead of trying different directions randomly. We know what works for us now.

LC: If everything is loud, nothing stands out.

LC: In my early days as a drummer, I only knew how to play loud. But now, I focus on creating original drum parts that complement the music without overpowering it.

BW: I try to keep my guitar parts simple, especially when I’m singing. People care more about the overall sound than individual parts.

BW: ‚Sports Day‘ is one of my favorite songs on the EP. I try to match Vera’s style in my writing and focus on well-written lyrics that tell a story. I think ‚Sports Day‘ accomplishes that, even though it’s a bit scattered in structure. Aber auch, es wurde in einer humorvollen, humorvollen Weise geschrieben.

LC: Du machst das, um dich ein bisschen zu schützen.

BW: Und eigentlich ist es ein ziemlich verwundbares Lied über Unsicherheit und diese lustigen jugendlichen Erinnerungen daran, sich nicht ganz wohl zu fühlen… Es geht irgendwie um Queerness und es nicht ganz zu verstehen, wirklich. Aber für mich war der Weg, das zu tun, etwas albern Aufgeblasenes zu machen. Jetzt fühle ich mich wohler in meiner Haut und bin selbstbewusster beim Schreiben. Ich kann mein Herz jetzt einfach offener zeigen.


Das Interview wurde aus Gründen der Klarheit und Länge bearbeitet und gekürzt.

Man/Woman/Chainsaw’s Eazy Peazy ist jetzt über Fat Possum erhältlich.