Start Listening To: Sheepish
From bossa nova beginnings to post-punk transformations, the South London band reflects on their evolving sound, literary inspirations, and the making of Goodbye Lemon.
Sheepish may have started as a solo project, but their evolution into a five-piece band has given their sound a new energy. Blending post-punk, experimental pop, and eclectic influences ranging from Bach to Brian Eno, their latest EP, Goodbye Lemon, captures a restless search for meaning in the wake of uncertain times. We caught up with the band to talk about their inspirations, the role of literature in their songwriting, and what fans can expect from their upcoming live show.
For those unfamiliar with your music, can you tell us who you are, where you’re from and about the music you make?
We’re a band currently based in South London. Sheepish started as a solo project exploring electronic music and experimental pop. The band now performs live as a five piece and the new EP presents that live sound.
Charlie, you mentioned that “High Note” evolved from a simple guitar-and-vocal arrangement into a noughties-inspired post-punk track. Can you walk us through how that transformation came about and what inspired the track?
It was one of those songs where I was sitting in a sunny garden and just started playing the guitar part. It had a slightly light-hearted bossa nova feel to begin with and I used to make friends laugh by playing it and just repeating the words ‘high note’ in a high pitched voice. I do remember learning the Art Garfunkel version of Waters of March on guitar around that time which may have influenced the guitar playing. It was never a particularly serious song to begin with. Originally I performed it live with just guitar and vocals. We then recorded a version with four voices, synth and percussion. Eventually we added drums, bass and a simple guitar riff for the chorus. The ascending vocals ended up sounding quite 60s in the chorus and I do remember thinking I had been influenced by the Beatles for that section.
Your EP draws inspiration from eclectic sources, such as King Gizzard & The Lizard Wizard, Syd Barrett, and Brian Eno. Are there any lesser-known influences that might surprise listeners?
At the time that the majority of the music was written for the EP I was very inspired by former band mate Caspar Latham who played Bach’s Lute Suites and lots of Malian music. We learnt and played these styles together which influenced the initial ideas for the guitar parts.
Each track on the EP seems to have a distinct theme, from posthumous reflections in “High Note” to the restless musings of “Little Bit Older.” How did you decide on the overarching narrative or mood for the EP?
Much of the EP was written in a fairly short time period and the general narratives and mood I think came from a feeling of dissatisfaction and a yearning for purpose not long after the pandemic. I certainly felt like I was finding it difficult to adjust to the world opening up again. The use of rhythm throughout the EP creates moments of tension and release which I think expresses those emotions.
“Wait” features an intriguing split structure with classical guitar and an extended instrumental. What inspired this experimental approach, and how did you ensure the two sections felt connected?
It was a very organic process, I came to the end of writing the first section and then just started playing the guitar part which drives the second section. The second section has a different time signature and so I linked it back by occasionally adding flourishes of the original riff in the original time signature. The guitar playing in this track is the most influenced by Bach and Malian music which is probably why it ended up sounding the most experimental.
“I Can Dance” references Martin Amis’ Money. How do literature and storytelling play a role in your songwriting process?
Literature often provides inspiration for lyrical ideas. ‘High Note’ was in part influenced by G.K Chesterton’s novel ‘The Man Who Was Thursday’ which also surreally explores themes of spirituality and religion. Tom, who performs vocals on ‘I Can Dance’, was reading ‘Money’ when we were writing that track. We felt it fit with the themes of dissatisfaction in the EP and so decided to use it as a base to work from. I would add that usually there are some words which come organically with the music which we then use to drive a theme which is only sometimes inspired by literature.
Your producer, Oli, played a significant role in shaping the EP's sound, from vintage mic techniques to layered percussion. How would you describe his influence on the overall project?
Oli and I have been working together on Sheepish material ever since the project began so he has always had a big influence on the songwriting as well as the production. The aim was to bring more of our live performance to the EP and Oli led the way in making sure the drums, guitars and vocals had that energy. Oli also added some additional layers of synth and percussion to make the mixes richer and more buoyant. We are constantly evolving the Sheepish sound so it is fun to be in a studio where the ideas always feel fresh.
Your upcoming launch show at Paper Dress Vintage sounds exciting! What can fans expect from your live performances, and how do you bring the layered textures of your recordings to life on stage?
It has always been important to me that our live shows are as live as possible so every sound is made by a human and we do not play to a click. Although that may mean our sound is not as textured as our recordings, it also means audiences can experience a raw performance which excites me and I believe brings the songs to life.
Having played together since childhood, do you ever revisit older material or ideas from your early days when writing or performing now?
No! Generally we like working on new stuff but we are always building from previous material.
A recurring theme in your songs seems to be navigating life's transitions, whether it's coming of age or facing existential questions. How has living in London shaped your perspective as artists?
I moved to London at the start of 2020 and so with lockdown it has been a pretty tumultuous time. It felt like a true coming of age and I think London magnifies that experience by making you feel very small.
What do you love right now?
69 Love Songs by the Magnetic Fields, I hadn’t heard this album until very recently.
What do you hate right now?
I don’t hate.
Name an album you’re still listening to from when you were younger and why it’s still important to you?
A Lesson in Crime by Tokyo Police Club. It’s filled with so much direct energy which I feel a lot of music in this style can lack.
With Goodbye Lemon just around the corner, what’s next for Sheepish? Are there any new experiments, collaborations, or surprises in store?
I spent most of autumn writing new tracks and we’ve just started the process of playing them together. We performed a few gigs last summer with an electronic rhythm section and that may have a part to play in the next release. No doubt it will most likely sound quite different to Goodbye Lemon.
