Artist: Fightmilk
Title: No Souvenirs
Format: 12” vinyl on paddling pool blue | digifile CD
Cat#: Fika104
Release date: 15th November 2024
Bandcamp | Spotify
Following the runaway success of their critically acclaimed 2021 second album Contender, the question for fast-rising London four-piece Fightmilk was always going to be “what next?” With a tight indie-pop sound that defined their early recordings, the answer was obvious to a band who seem hellbent on the notion of evolve or die…
The band originally formed in 2015 in a Brixton pub garden by Lily and Alex, who had both, separately, just been dumped and thought being in an angry punk band would cheer them up. Then they found Nick and Healey to hold the rhythm down and make them sound good. With three albums under their belt, they’ve perfected their chaotic, melodic brand of joy and rage-filled pop with full-throated yelling and sparkling guitar riffs as their trademark. They’ve graduated from angsty whippersnappers in their mid-twenties to overgrown teenage 30-somethings with mild ongoing back and shoulder pain.
Their previous two albums Not With That Attitude (2018) and Contender (2021) marked them out as an ambitious and rising prospect, and now on their forthcoming new album No Souvenirs the band eschew their former Britpop ties and edge further into DIY punk and heavier rock influences to reveal a leaner, meaner, more abrasive side to their cathartic lo-fi anthems.
Whilst collectively diving into their passion for Jimmy Eat World, frontwoman Lily Rae made a conscious decision to strengthen her “big loud yell” with influence from Alicia Bognanno (Bully), Nat Foster (Press Club), and Missy Dabice (Mannequin Pussy). “My voice is the biggest it’s ever been and I’m constantly thrilled when people are surprised at how loud I am, considering I’m so small in stature,” she grins. “Lyrically I always look to Bruce Springsteen for inspiration but I also really enjoyed the angsty candour of Sour by Olivia Rodrigo, and Kacey Musgraves’ impeccable one-liners.”
There are a few genre experiments on the record—Yo La Tengo in ‘Paddling Pool’, ‘Canines’ is part The Strokes and part Neu!, and ‘Back From Tour’ was heavily influenced by long term friends Johnny Foreigner. “You could probably make a case for ‘Inferno’ having a bit of Counting Crows to it, but we were never writing to emulate,” explains guitarist Alex. “The references and touchstones just happened along the way. As far as we’re concerned, they just sound like Fightmilk - and that’s a really nice place to be nearly a decade in.”
“As a songwriter, I’ve disciplined myself to keep to ‘first thought best thought’ more, and not overwork lyrics and melodies into the ground - the line that needs to be there is usually the most obvious one,” says Lily of the process for this record. “As we’ve become more collaborative as writers, you can hear Healey’s DIY punk influence come in more, and Nick’s heavier rock influences. We’re more secure in keeping weird sh*t in, and not adding or cutting things because it feels like we’re supposed to.”
“That said, we’ve also been REALLY picky with the songs that made it onto the album - there’s probably another album’s worth of songs that didn’t feel right, even if we loved them. We got really good at finding the “magic thing” in each song that made it work.”
Spilling over with candid lyrics about death, doomed love, and dog bites, framed by endless punk energy and the kind of full-throated riff-rock that sounds just at home in a giant stadium as it does in a sticky-floored toilet bar, No Souvenirs is a triumphant return from the band, who are equally enthused by the album.
“It’s easily our best one yet,” says Lily of the record. “I want every track on it to be a Sunfly Karaoke song one day. It’s a big growly, grungy album with a healthy amount of yelling - but there’s lots of humour in it, too. Ideally it’s played very loudly with the bass turned up, three beers deep, and singing along to all the choruses.”
With the quartet about 75% finished making their previous album Contender when Covid hit, a lot of their grand plans required a rethink. A heavily produced record, when the band were finally allowed to start playing shows again they found that some of the more elaborate songs ended up falling by the wayside. “On the plus side, it reminded us how much joy and catharsis we found in making a screaming racket in front of people,” says Alex on the genesis of the new album. “No Souvenirs was written with that joy and catharsis as a starting point.”
Recorded at Dean Street Studios in Soho, London over 2 or 3 manic weekends in 2022/23, new album No Souvenirs was produced by Keith TOTP, engineered by Sam Hogg and Tom Quigley, and mixed and mastered by Adrian Hall.
With no label and no plan, Fightmilk agreed they would just make the best album they could and worry about the logistics after the fact. “That took quite a lot of pressure off, and allowed us to relax in the studio and be a bit more creative on the day,” remembers Lily. “We’ve never finished writing songs whilst in the studio before, and similarly never had so many songs finished that we could shelve the ones we weren’t 100% sure on, so we had the shared experience of two albums behind us and a lot of hard work and discipline when it came to making sure the songs were exactly what they needed to be.”
“I only realised after we put the songs together how personal to me this album was,” explains Lily. “Not just because I’m writing about extremely specific sitcom episodes in my life (getting fired from bridesmaid duty, being bitten on the arse by a dog, being relentlessly asked when I’m going to have kids), but because whilst we were making it, I turned 30. It’s a significant age for women, especially in music, because aside from being something called a ‘geriatric millennial’, there’s an unspoken rule that there’s a cut-off point for you to have ‘made it’ and after that you have to settle down and be normal.”
“The music industry is freakishly obsessed with women’s youth and anyone older than 25 is considered ancient. (I’m maybe the world’s biggest Japanese Breakfast fan and there’s an interview with Michelle Zauner where she talks about this way more eloquently.) But when I hit 30, I felt like I was only just starting to have anything interesting to say, and had so much more curiosity and enthusiasm for everything!”
For Lily, writing for the album also aligned with the tenth anniversary of the death of a close friend, with the resulting track ‘No Souvenirs’ lending its title to the album as a whole. “It had taken me that long to write about it in a way I felt ok with. But I realised that I couldn’t have written it before,” she explains. “I needed that distance, and that maturity, to be able to articulate those feelings. It feels to me now like the album is about scorched earth, moving on, taking nothing with you for the next ‘thing’ - and realising that getting older is a privilege.”
When it comes to personal favourite tracks, Lily earmarks ‘Paddling Pool’ as her highlight. “It’s a step away from our usual big grungy pop fare, and we got to experiment with some really floaty, quieter sounds. It was nice to do Lucy Dacus singing instead of Courtney Love singing. ‘That Thing You Did’ has my favourite chorus, though. I never thought we’d write an earworm.”
The album’s artwork is, as ever for Fightmilk, meticulously crafted and filled with meaning. A framed display case full of…well, souvenirs…there’s one for each of the songs, and a bunch that aren’t.
“We’re very into visual metaphors here at Fightmilk,” laughs Lily. “No Souvenirs means exactly that—you can’t take it with you. I’m a really sentimental keepsake-hoarder and I’ve got letters, birthday cards, empty perfume bottles, button badges, and all sorts from years ago. I can’t bring myself to say goodbye to them but, without being morbs about it, even if I hold onto these physical memories my whole life, someone’s probably going to put them in the bin when I die. There’s also a bit of that being a hangover from my 20s and trying not to bring any of that angst and self-doubt and uncertainty with me into the next part of my life.”
Bringing a huge amount of energy and joy with them whenever and wherever they hit a stage, interacting with the audience is a vital part of the Fightmilk live experience. “Without people singing and dancing at us we wouldn’t have gigs at all, so we want everyone to get involved!” says Lily of the band’s future tour plans. “I love hopping offstage and wandering through the crowd with a microphone, demanding people name a famous dog, so whatever happens there will always be crowd participation… oh, and bring earplugs. We’re really loud.”
Fightmilk is Lily, Alex, Healey and Nick - a London-based four-piece who write sweaty, loud, shouty pop songs. Formed in the beer gardens of South London in 2015, the band quickly drew attention with their debut album Not With That Attitude (Reckless Yes, 2018) - singled out by Drowned In Sound for its “package of massive, Godzilla-heft hooks” and “crack–like melodies.” Gaining support from 6Music and Radio X, the band swiftly hopped in the van to play shows with the likes of Art Brut, Desperate Journalist and Nova Twins, as well as touring Germany.
Not letting a seismic global clusterfuck stand in their way, the band released their second LP Contender in 2021 via Reckless Yes. Described as “a joyous riot from start to finish” by Kerrang, it was an album with something to prove, adding stacked harmonies, analog drum machines and even heftier riffs to the band’s arsenal, while still remaining decidedly true to the band’s spiky indiepop sound. As soon as they were released from lockdown they began a near relentless gigging schedule, taking in multiple trips around the UK, support slots with Johnny Foreigner, mclusky and Problem Patterns, plus a sold-out 2022 headline slot at Norway’s Indiefjord Festival, where a sweat-soaked Fightmilk crowdsurfed their way offstage at midnight only to find it was still light outside.
The band’s eighth year in action has seen them writing and recording their third album, to be released in late 2024 on Fika Recordings & INH Records. Fightmilk have turned the distortion up and the indiepop down with rougher and rawer songs about body image, death, and being fired from bridesmaid duty.
“Having listened to this album for the last few weeks I’m still undecided what my favourite track is, or which I’d suggest is the standout. The same happened when I reviewed Contender. I think Alex hits the nail on the head when he says they just sound like Fightmilk, which is reason enough to buy this album, and play on repeat” Louder Than War [5/5]
“No Souvenirs is a smorgasbord of raw emotion, musical intelligence, juxtaposition and realism all wrapped into twelve songs that remind you that feeling bitterness may not be a bad thing after all. It’s certainly going to help Fightmilk on their quest across Britain and beyond.” Noizze [8/10]
“No Souvenirs wants to be a great album and wears that ambition on its face; there’s no shame about going bigger. If anything, it’s what makes Fightmilk excel at a rate far beyond their peers. The best of both worlds isn’t some unscalable summit, and No Souvenirs is set-in-stone proof how much it can achieve.” The Soundboard
“Offering rage, joy, and catharsis, FIGHTMILK lay it all on the table on No Souvenirs” Distorted Sound
“Masterfully produced and faultlessly performed, it’s easy, melodic and relaxed, and it demonstrates – to anyone who may have any doubts remaining – that Fightmilk are much, much more than a power pop generating machine.” At The Barrier
“Their ability to match cutting sarcasm with big catchy tunes and their propensity for penning a pitch perfect sad banger made them an instant hit in Joyzine HQ.” JoyZine [Track by Track]
“No Souvenirs is an invitation to shed past baggage, scream louder, and embrace the messiness of living. For a band nearing a decade, Fightmilk has managed to keep their music youthful yet matured. They are proof that getting older can be liberating.” Amplify The Noise
“the album is encrusted with jangly indie-pop jewels such as Canines, Yearning and Pining, and Inferno, which deftly suck out all the Aussie slacker-pop drawl of the Quivers aesthetic to just leave everything that is perfect about three-minute jangly indie-pop when it is conveyed with precocious British aloof” Jangle Pop Hub
“enticing and clever; satirical at times but not haphazard or misguided” Ghost Cult Mag
“This will definitely be getting more time on my stereo and is certain to be in my Top 3 Records Of The Year.” The Counterforce
“Driving guitar chords, ecstatic pop-rock choruses: With playfulness and passion, the London band deals with destructive ideals of beauty, their own grief and much more.” Frequenz Magazine
“paired with an array of luscious melodies that are delivered in various forms. ‘Summer Bodies’ is a spunky mix of indie-punk and doo-wop. ‘Inferno’ swirls with a laid-back power-pop quality” Already Heard [Behind The Artwork]