Meet Man/Woman/Chainsaw, the London quintet that are carving out a unique space in London’s music landscape with their ‘orchestral mayhem’. Check out our latest Hype playlist cover feature.
Words: Stephen Ackroyd.
Photos: Ella Margolin.
Five teenagers, a violin, and a shared passion for pushing musical boundaries. It sounds like the setup for a particularly avant-garde sitcom, but it’s actually the origin story of Man/Woman/Chainsaw, a London quintet who’ve been steadily amassing buzz in the capital’s ever-churning indie scene. Preparing to unleash their debut EP ‘Eazy Peazy’ on Fat Possum Records, could this be the sound of the future?
At a time when so many seem to be peddling a tepid rehash of 90s Britpop, heating up the dying embers of the post-punk sprechgesang revolution, or trying to sound like The 1975’s cooler, younger, less chaotic siblings, Man/Woman/Chainsaw offer something genuinely intriguing. Their brand of orchestral mayhem conjures images of Nigel Kennedy leading a punk revolution at the Royal Albert Hall – minus the Union Jack violin, thankfully.
When asked if there’s anything they’d want readers to know about their music, the band offer a cryptic “If you know, you know.” It’s the kind of statement that would normally make you want to roll your eyes so hard they’d get stuck, but there’s something about Man/Woman/Chainsaw that makes you want to be in on the secret. Perhaps it’s the way they’ve managed to blend classical instrumentation with a DIY punk ethos without sounding like they’re trying too hard to be clever.
The band – Vera Leppänen (vocals and bass), Billy Ward (vocals and guitar), Lola Cherry (drums), Clio Harwood (violin), and Emmie-Mae Avery (piano, synth and vocals) – have been honing their craft since the tender age of 16. In that time, they’ve racked up an impressive 100+ gigs, a feat that would make even the most jaded of toilet circuit veterans nod in grudging respect. It’s almost enough to make one forget we’re only a few years out from the dark days when the closest thing to a live gig was a Zoom karaoke session with your tipsy aunt Mildred.
Their journey hasn’t been without its moments of levity. Take their 100th gig celebration, for instance. “We stayed at Dot to Dot and saw some of our favourite bands,” Emmie recalls, with the enthusiasm of someone who still gets excited about going to gigs rather than seeing them as a busman’s holiday. “Really enjoyed Jockstrap, Wunderhorse and Mary in the Junkyard – Clio took a special fancy to The Dare.” They pause, before adding, “and would like to take him to dinner if he’s reading this.” It’s a charming anecdote that reminds you why you fell in love with indie music in the first place – the community, the crushes, the shared experiences.
Man/Woman/Chainsaw have been nurtured by London’s DIY scene, a breeding ground that’s produced more than its fair share of exciting and innovative bands over the past decade. Their sound – a blend of orchestral elements and punk energy – has caught the ear of tastemakers for good reason. It’s fresh, it’s daring, and it’s got substance behind the style.
When pressed about their standout gigs from that hard won century, the band’s enthusiasm is infectious. “That 100th show in Nottingham was particularly fun. Our recent headline at the Hope and Ruin was also really wicked,” Vera shares, with the kind of genuine excitement that makes you want to time-travel back to your first gig. But it’s clear that one venue holds a special place in their hearts. “We’ve probably played the George Tavern the most as it stands,” says Billy. “We’re really excited to play there again on 15th August. Feels like home.” It’s a touching reminder that even as bands grow, they don’t forget their roots. One hopes they’ll still feel the same way when they’re headlining Glastonbury – stranger things have happened.
Their debut EP, ‘Eazy Peazy’, was recorded with Gilla Band’s Daniel Fox, a collaboration that seems to have left the band starstruck in the best possible way. “It was wicked,” Lola gushes. “We’ve been fans of Gilla Band since forever, it was amazing to work with Dan, he’s a cool guy and definitely brought some magic to the songs.”
“Think emo daughters, cycling down open roads, bad haircuts and dirty shoes!”
Vera Leppänen
The EP’s lead single, ‘Ode To Clio’, offers a tantalising glimpse into the band’s creative process. “It existed in various iterations for about a year before we arranged it into the form we have today,” Lola explains, as if year-long gestation periods for singles are the norm. “Clio’s violin melody stuck around through this whole process, hence the title – the lyrics are a dreamy stream of consciousness about lots of people we know.” They helpfully add, “Emmie was the one sprawled across the kitchen floor,” a detail that paints a vivid picture of the beautiful chaos that fuels their creativity.
This description perfectly encapsulates the band’s approach to songwriting – collaborative, evolving, and deeply personal. It’s an approach that Billy has previously described as thriving “on the thin line between pretty and noisy, often trying to jump between the two – it’s that chaos that excites us.” It’s an ambitious goal, and while they’re not the first to pursue it (My Bloody Valentine might have something to say about that), their fresh take on the pretty-meets-noisy dynamic suggests they’ve got the chops to pull it off.
The unconventional spelling of the EP’s title raises questions, which Vera answers with characteristic humour: “Massive ZZ Top fans.” Not wacky. Not random. Sarcastic and smart. It’s a playful deflection that speaks to the band’s refusal to take themselves too seriously, even as they prepare to release their most significant body of work to date. One can only hope this sense of humour serves them well when faced with the inevitable slings and arrows of the music press.
When pressed on how they approached curating the EP’s tracklisting, Billy’s response is equally refreshingly straightforward: “Point and shoot.” It’s an off-the-cuff remark that could either indicate a laissez-faire attitude to their art or a confidence in their instincts that borders on the preternatural. Given the thoughtfulness evident in their approach to songwriting, we’re inclined to believe it’s the latter.
This blend of careful craft and raw instinct is perhaps best exemplified by the band’s description of the EP’s sonic landscape. When asked what kind of film ‘Eazy Peazy’ might soundtrack, Vera paints a vivid picture: a “coming-of-age banger – think emo daughters, cycling down open roads, bad haircuts and dirty shoes.” It’s an evocative image that captures both the youthful energy and the emotional depth of Man/Woman/Chainsaw’s music. You can almost see the film playing out – a sort of Lady Bird meets This Is England, with a soundtrack that veers between heartrending violin solos and chaotic punk outbursts.
As we catch up with the band, they’re soaking up the sun, working on new music – a rare moment of respite in their increasingly busy schedule. “It’s going well,” Billy enthuses, with all the optimism of a band yet to be properly worn down by The State Of Things. “We’re in the sun on a little writing retreat, making some heat, singing songs, and we’re going to go swimming later.” It’s all very idyllic – there’s nothing quite like the unfettered creativity of a band’s early days.
As our conversation draws to a close, it’s clear that ‘Eazy Peazy’ is just the beginning for Man/Woman/Chainsaw. When asked about their current projects, Emmie reveals, “We’ve been working on lots of new songs and taking contemporary dance classes.”
It’s an intriguing combination, to say the least. One can only imagine how these dance classes might influence their live performances – perhaps we’ll see some pirouettes mixed in with the punk posturing. Or maybe they’re making it up. Either way, the coming months will see the band embark on an extensive tour, including performances at prestigious festivals like Green Man and Manchester Psych Fest. It’s a schedule that would be daunting for many young bands, but Man/Woman/Chainsaw seem to thrive on the energy of live performance.
For now, they remain an intriguing prospect – a band with the potential to shake up the scene with their unique sound and infectious energy. As they continue to evolve and push their boundaries, one thing is certain: the future looks bright for Man/Woman/Chainsaw. And for those in the know? Well, they know. ■
Man/Woman/Chainsaw’s new single ‘Ode To Clio’ is out now. Their debut EP ‘Easy Peazy’ is out 8th November. Follow Dork’s Hype Spotify playlist here.
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