There are no typical, always-on tone sweeteners. We're not talking about MIDI-triggered multi-effects or a loaded laptop, either.
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Each musician performs behind crowded pedalboards full of carefully tuned effects-sound-sculpting devices, manipulated on the fly, that help Nova Twins redefine the power trio. Without synths, Love's and South's choice of effects pedals play a vital role. I got it from my friend's dad and have played it ever since." Photo by Arthur René Walwin When you have loads of pedals, it's good to have something neutral like that. “It's really heavy," says bassist Georgia South of her Westone Thunder 1. But the debut is special, and we wanted to be able to prove that to everybody." We're not saying we might not use synths in the future. So doing it in that raw form, playing all the pedals at once, and being able to play it all live was the way we needed to do it, especially on the debut album. “And being women of color, we feel like we have to prove ourselves 10 times harder. We want to be able to do it and see if we can,'" says South. “They asked when we went into the studio, 'Do you guys want to use synths?' We said, 'No, we don't. There are no plug-in virtual instruments, no vintage analog pieces, no backing tracks. It sounds riddled with synthesizers, but there aren't any. Though always driving and always massive, Nova Twins' music is surprisingly straightforward. From the first bass drop of “Vortex" to the chaotic conclusion of the album's closer, “Athena," the whole album is relentless, and it's all done with thoroughly modern musical expression. (“The good ones," according to Love.) You'll even find the groove and power of hip-hop and nu metal. The album explodes with the aggressive beats and attitude of '90s-era electronic music, in the vein of the Prodigy and Chemical Brothers.
But as soon as Nova Twins' roar pierces your eardrums, you're definitely paying attention. Much like Rage Against the Machine did in the '90s, their lyrics offer an uncomfortable look at the state of our world. The aptly titled Who Are the Girls? tackles issues like race, sexuality, and misogyny. The new releasefinds them abrasive, boundary pushing, and more focused on their message than ever. One EP and three singles later, the Nova Twins were hard at work on their recent full-length debut, Who Are the Girls? While Many bands choose to play it safe for their first album, the Nova Twins aren't most bands. The recipe works, and “Bassline Bitch" caught the ear of the industry. The guitar has to be conscious of what the bass is doing because it is, sonically, the driving force of the track." At heart, that's what we bring to the table. “But the way we fundamentally think about things is a bass and a vocal. “The guitar was always there," Love says. On their debut album, Who Are the Girls?, Nova Twins explore issues of race and sexuality, set against aggressive grooves and an intense electronica energy that has gained them comparison to U.K's the Prodigy.
The guitar weaves in and out, completing the picture. What initially emerged was their debut single, 2015's “Bassline Bitch."Įven a cursory listen to the track reveals two souls throwing caution to the winds with an already fully realized sound, defined by South's locomotive bass and Love's go-for-the-throat vocal style. But what was nice and challenging was, 'How do we create this thing as a three-piece?'"įrom the moment the Twins began writing together, they knew they had struck something original. “There's something quite special about musicianship. “And we didn't need to add anything else," adds Love. So we thought, 'How can we bring out that sound, but do it on our instruments?'" We also love the production of certain hip-hop tracks. And they were all combined into our sound. “We were influenced by electronica, R&B, and even pop, to some extent. “We like to create a world out of the bass and guitar," South says. “Being women of color, we feel like we have to prove ourselves 10 times harder." -Georgia South
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