Peachy Nail – SLUG Magazine
As the Utah summer returns, SLUG is delighted to bring back our outdoor concert series, SLUG picnic. The first 2021 showcase features Peachy Fingernail, Opal PK and The seat of mercy, each using their unique sonority as a springboard for a host of weird, wonderful and cathartic feelings. SLUG picnic will take place on Saturday June 26 in front of SLUGthe offices of (230 S. 500 W. Ste. 125 in Salt Lake City); doors open at 5.30 p.m. and music is from 6 p.m. to 9 p.m. SLUG picnic (Sponsored by Churn baby, Dented brick distillery, Gem City Fine Foods and Pulp lifestyle kitchen) are available on SLUGMag.com. Be sure to bring your own picnic blankets and chairs!
Polly llewellynPeachy Fingernail’s music comes from the throaty realm of impulse and the subconscious. “I feel really manic on albums, I change a lot,” she says. “I make songs just by breaking a record before I know what I’m going to do… I just like doing pretty things! In the final product, that sense of mania and a lack of premeditation provides fertile ground for songs that come and go with an organic sense of naturalism. The most recent version of Peachy Fingernail, i am nothing but a stupid girl, showcases the emotional outcome of such a musical perspective, where an embrace of beauty gives way to the gritty reality at the heart of a human being.
This submission to the impulses of the moment and an artistic play guide Llewellyn’s musical creation. In particular, she finds that her unlimited approach allows for a wide range of sound textures. “I get very expressive when I record music,” she says. “I just like to be expressive and feel an impulse to do something, I’m just going to do it and record it. I love textured stuff and trust the impulse that makes me do something like that. The outputs range from the snap of the plastic that guides the ‘3/4 wash cycle’ (from a desktop knickknack) to the sound of torn paper used during sessions for Llewellyn’s Peachy Fingernail debut, Radishes; from the alternate lo-fi rock of “I’m the foam of the ocean, let me die” to the mocking cry that opens “the quilt beads of sperm”.
“I make songs just by breaking a record before I know what I’m going to do… I just like doing pretty things! “
Especially on i am nothing but a stupid girl, the lyrical accent turns to a similar innate sense: what we see, hear and know without thinking about it. “In every person’s life, the things that define them are like auto-mythologies,” Llewellyn says. “I wanted to do it on the one hand and also really try to speak more clearly in places. I wanted to have the two in contrast to each other – a combination of [the] every day and your late night feelings at 4 in the morning, “omg what is my life”. Although her voice often struggles to breathe under layers of washed-out instrumental collages, this mix of the real and the surreal rings true: “My voice is like a wax car / It melts as it rolls / Bounces between angles and throat / She dies outside and gets cold on a silver plate ”, launches the last verse of“ Don’t Inhale the Barnyard ”under guitar passages as thin as paper.
Either way, Llewellyn’s music strives to escape easy definitions and identifications. Specifically, she cites her earlier efforts in poetry as the genesis of her love of obscuring effects and processes: “I could never write directly about the things I wanted to talk about, otherwise it seemed indefinable to me wrong.” she says. “I would start writing around this. I would do really long poems that all wrote around something. The same process now informs her songwriting, where the blurry musical effects add to the multi-faceted textual evasiveness at the heart of these songs.
“I wanted to have the two in contrast to each other – a combination of [the] every day and your late night feelings at 4 in the morning, “omg what is my life”.
The benefit of this artistic shroud is that it allows Llewellyn’s vulnerability without sacrificing comfort or privacy. “I can pour… my straightforward, honest feelings into the song, but then, during production, I can encode it into the music itself,” she says. “And I like that. It helps me feel that there is a distance between the things I’m thinking about and the person hearing them. Maybe it gives the person hearing it some latitude to perform it in a way they love for themselves. On ” song of praise ‘dress me in pictures, daddy keep me here forever. “Llewellyn hints at a romantic loss while allowing listeners only a fragment of a in the media Viewpoint: “I don’t know what I mean / The ground has now burned everything down / She never loved me anyway / A dying star collapsed in her form.”
This idea of creating an autonomous story that escapes distinct representation finds an analogy in i am nothing but a stupid girl‘s wiggling the blanket. Using a double exposure effect to combine two grayscale nude photographs, the image reflects Llewellyn’s desired balance between drastic openness and poor orientation. “I really liked it as the kind of expression on the album — seeming to be vulnerable in a lot of ways… but you’re not sure what exactly you are looking at.” Llewellyn’s body, folding in on itself and protruding from the frame in contortionist poses, acts as a metaphor for our own mythologies: “[It’s] something the full meaning of which no one else will ever understand except ourselves. So we are sort of artifacts to ourselves, ”Llewellyn says. Find more music by Peachy Fingernail on Bandcamp at peachyfingernail.bandcamp.com.