The Art of Malleability: An Interview with Girls of The Internet
Osob Hersi
Girls of the Internet have been able to carve a serious space for themselves in the electronic music scene since the inception of their debut single ‘When U Go’. Their debut track was released through Luke Solomon’s ‘Classic Music Company’ label in 2017. Although Tom Kerridge is at the heart of the band, Sophie Joy, Kaila Cooper, and Tommy Peach are also integral members. Collaboration and cooperation are core components within the collective, and I soon noted an integral essentiality in the ethos of the members. The key feature of the Girls of the Internet is their syncretism, and the breadth of the music they create reflects that: from Disco-Housey influences to Garage, Dub and even Techno—it’s genre-bending at its finest. They are constantly evolving their sound and practice, and recently, they have begun to incorporate more live instrumentation within their music.
Girls of The Internet are the crux of malleability.
Recently, I got the chance to speak to Tom Kerridge ahead of their performance at the Kaleidoscope Festival this Saturday at Alexandra Palace Park. We talked about the band’s inspirations, playing Glastonbury and the difference between being an artist vs being behind the scenes.
Osob: Hey, Tom. Thanks for taking the time to speak with me. I’ve read that ‘Girls of the Internet’ is an ode to the supergroup Roy Ayers created and called ‘Eighties Ladies’. How significant has his music been to your practice? What’s your favourite song by him?
Tom: I love Roy more as a producer than an artist - that’s really where he speaks to me. My favourite thing he has done is the Sylvia Striplin album ‘Give Me Your Love’.
Osob: You also create a lot of your own artwork. Is there a particular artist that inspires your fine/visual art practice?
Tom: I try not to be directly influenced by anybody too much, but my favourite painter of all time is Francis Bacon.
Osob: You just recently played your first Glastonbury set. How was the experience? Did you manage to catch anyone’s set that you particularly enjoyed?
Tom: I didn’t see too much except the rest of the DJ’s playing the Glitterbox takeover after our set. I did manage to see some amazing sets in Maceo’s afterwards, though - I don’t know exactly who was playing the whole time, but I definitely caught Gina Breeze and Midland’s sets.
Osob: Who have you been listening to in rotation at the moment?
Tom: Madison Mcferrin, Malin Genie, Axel Boman and Seven Davis Jr are all making beautiful music right now.
Osob: With Techno originating from Detroit and, arguably, the foundations of House being laid in Chicago and with Black/African Americans greatly contributing to Disco: there is no doubt that black culture has been a huge, critical and significant part of Electronic Music. As a white person, how do you ensure that you don’t appropriate but appreciate the music you love so much? I read that due to this reason, you are not a huge fan of sampling as you would rather contribute than just rework songs created by musicians from that era.
Tom: I try not to copy anybody’s style. There are so many people out there doing bad impressions of Mr. Fingers, or whoever - it’s always been very important to me to have my own sound, so I can give to the art form. If you’re heavily copying somebody else, you’re just taking from it, and that can be problematic. Also, the origins of all dance music comes from queer, black artists. I don’t believe there’s any argument to be had. If it wasn’t for the work Larry, Frankie & Ronny did in those black and queer spaces, we’d have no dance and electronic scene full stop.
Osob: One of the unique things about ‘Girls of the Internet’ I have found is your usage of live instrumentation and vocals blended with the electronic component in your music which was beautifully shown in your recent Defected Basement set. There is a syncretic and symbiotic relationship between the electronic and live arrangement of the music you produce. Can you talk us through your process in merging these two elements of music arrangement together?
Tom: I always thought there was a missing piece in house music - house music’s origins are DJ’s looping and extending sections of live records. Live music with songs is where this all comes from, and while I love tracky instrumental music, I just wanted to join some dots that we seem to have forgotten about.
Osob: I am aware that you created and ran ‘Ramp Recordings’ for a number of years so you probably have a unique perspective on the music industry. What is the difference between being an artist instead of being behind the scenes? I am aware you have your own label called ‘Drab Queen’ where you have released your own singles on. Would you ever sign anyone again?
Tom: People are nicer to you when you’re an artist. I’m enjoying having everybody say yes to me, currently. I’m unfortunate that I worked in a record label firstly, during the greatest recession the music industry has ever seen, and secondly, when misogyny and abuse was still rampant in the scene. It’s difficult to compare the experiences, as everything has changed so much. Would I sign somebody again? I don’t think so. Maybe if somebody else could run the business side. I’m a great a&r, but I hated the paperwork side of running a label!
Osob: How instrumental was the single ‘When U Go’ in shaping your formative career as a producer? You released the single via Luke Solomon, I was wondering if you were still in contact with him?
Tom: Yes, our next album is signed to Luke’s label. Since his work with Beyonce, his production career has really taken off, so we don’t work with him quite as much on a day-to-day basis anymore, but we still chat. ‘When U Go’ completely changed my life. I made it at a point in my life when I had nothing, and when Luke signed the track, and then it blew up in Ibiza and on streaming services, it made me realise I can fulfill a lifelong dream and actually be an artist. I always thought it was out of reach for somebody like me before. It truly saved my life.
Osob: And finally, dead or alive- who would your dream collaboration be?
Tom: Easy. Loleatta Holloway. Best vocalist who has ever lived.
Check out Girls of the Internet’s latest single, Affirmations.
