New Video: JOVM Mainstays Piroshka Releases Politically Charged Visuals for “What’s Next”

Over the past few months, I’ve written quite a bit about the indie rock All-Star act Piroshka. Deriving their name from the Hungarian version of Little Red Riding Hood, the band is comprised of Lush’s Miki Berenyi (vocals, guitar) and Moose’s KJ “Moose” McKillop (guitar), who are married, along with Modern English’s Mick Conroy (bass) and Elastica’s Justin Welch (drums) — and while each member may be known for their highly acclaimed projects, they’ve been long connected within a complex and knotted web: Berenyi and McKillop are considered shoegaze pioneers with a number of applauded and beloved releases before getting married and starting a family; with the release of their breakthrough, full-length debut, 1995’s self-titled debut, Elastica were rising Brit pop stars, and as  result, Berenyi and McKillop were familiar with Welch and his work; Conroy, was a member of Modern English and after that band broke up for a second time, he joined McKillop’s band Moose. Welch joined the reunited Lush in 2015 — and when they needed a bassist for what turned out to be their final show in Manchester, Conroy filled in.

The Manchester show rehearsals are what laid the foundations for Piroshka — but I need to backtrack a bit: After Chris Acland’s suicide in 1997, his devastated and grieving Lush bandmates felt it was impossible to continue with the band, and the band broke up as a result. Berenyi was so devastated by Acland’s death that she quit music, spending the next 20 years as a working mother. Because of her personal and personal obligations, Berenyi didn’t agree to reunite Lush and tour again until 2015. I should add that Welch was a close friend of Acland’s, making him a logical choice to lovingly fill in.  Interestingly, as the story goes, Welch asked Berenyi if she’d up to doing something new after the final Manchester show. As Berenyi recalled in press notes, up until then she hadn’t made music outside of Lush and solo work never appealed to her. “I need someone else to motivate me, and in this case it was Justin. He sent drum tracks with guitar parts and odd words, so I wrote some vocals and lyrics, which became ‘This Must Be Bedlam’ and ‘Never Enough.’ When Mick added bass, it sounded great. When Moose added guitar and keyboards — I’d never written like that before, it was such good fun.”

“We sounded great!” Welch added in press notes. “Like a proper punk band. Mick brings a huge amount of enthusiasm and livens up the room, and I thought this is the kind of band I want to be in again.” Conroy agreed, adding “I’d seen Lush so many times, it was like playing with old friends. Miki agreed and it was good fun, too. And with Moose available, we thought, ‘let’s all have a bash, see what happens.’”

There are serial more layers to the entangled web of personal, professional and creative connections, Bella Union’s label head Simon Raymonde was among the first people to hear the band’s Brickbat demos and he quickly signed the band to the label. Raymonde’s former Cocteau Twins bandmate Robin Guthrie produced Lush’s debut album. Additionally, Raymonde’s current Lost Horizons bandmate Richie Thomas was a former member of Moose. In any case, Raymonde introduced Piroshka to Lanterns on the Lake‘s Paul Gregory, who mixed all but one track on the album — “What’s Next,” which was mixed by Alan Moulder. Lastly,  Fiona Brice, who was once a Bella Union recording artist, wrote string arrangements while The Higsons and Blockhead‘s Terry Edwards, who played on Lush’s final album played brass.

Now, as you may recall, Brickbat was released earlier this month, and while the album’s title is derived for a slang term for missile, it also manages to symbolically hit upon the fact that the material is a marked departure from each individual bandmembers’ known work — with the focus being on blue, forceful lyrics that tap into the fear, loathing, envy, spite and strife at the heart of our ongoing sociopolitical climate. Unsurprisingly, with some of the band’s members being parents, much of the material was written through the anxious prism of parenthood in a world gone completely mad. Brickbat‘s first single “Everlastingly Yours” was centered by a devastating and profound fear — that you can’t possibly predict the evolving dangers of our world, and that you can’t completely protect your loved ones from them either. While built upon a shimmering and anthemic shoegazer-like arrangement featuring soaring synths, a propulsive, angular bass line, four-on-the-floor-like drumming and Berenyi’s aching and ethereal vocals, the song thematically as McKillop explains is “about school shootings and our reaction to almost being almost unable to take our eyes off twenty-four hour news and internet feeds.” As a result, the song taps into deeper sense of powerlessness and helplessness.

Brickbat’s latest single “What’s Next” continues in its predecessor’s footsteps as it’s centered around the urgency of our sociopolitical moment — with the song’s narrator essentially saying “Wait, hold up. What the fuck, man? Shouldn’t we want better?” And throughout there are references to people hitting the streets to protest, out of fear, concern and outrage.  “‘What’s Next’ started life as a guitar-and-drums demo from Justin that he’d called ‘Protest’ – the drums being inspired by the idea of a protest march. It’s one of the very first songs Piroshka worked on together,” Berenyi explains in press notes. “The lyrics are inspired by the shock and fallout regarding current political upheavals – how this finger-pointing and rage and blame are so damaging, how we need to get back some kind of solidarity if we possibly can because the divisions between us are playing into certain people’s hands. Funnily enough, the song was called Time’s Up when it was first recorded, but that title then got taken so we thought we’d better change it!”

Designed and directed by Bunny Schendler, edited by Jonathan Hodgson and featuring animation by Bunny Schendler, Sofa Umarik and Jonathan Hodgson, the video captures the anxiousness and righteous outrage of our political climate as its centered around political demonstrations, protests and skirmishes in the streets — while stressing that in the Internet age, it’s easy to stir up hatred, infighting and finger pointing.