Sachet

The four members of Sachet are standing on the street next to a brick wall with graffiti. They are all looking in various directions, none of them at the camera that is positioned above them looking down.

Local “dodgem car breakneck pop” band and FBi’s Independent Artist of the Week Sachet have made their sweet return from a 4 year hiatus with a punchy EP, The Seeing Machine. Sachet’s lead singer and songwriter Lani Crooks sat down with the Up For It team to discuss what’s been in the works. 

With just over 13 minutes of music all up, Sachet’s newest release is a short but triumphant glimpse into the past four years of their life. The EP serves as a soundtrack to some important moments – including the welcoming of two babies in the band. 

“Yeah that changed us but… it just makes you more grateful for having a rock band to run away to.”

In spite of the time passed, Sachet feels that making music has never been more natural – a feeling that translates perfectly throughout their release. 

“Muscle memory kicks in… it’s like no time has passed”

“The Seeing Machine” is an interesting take on everyday life –  Lani described each song as an “individual meditation” on “various things”. There is an interesting tension within the album, where the domestic is given a punky twist – for example, the “Lodger” is a creative interpretation of what one can only assume may have been a neighbourly spat. In between airy refrains lies a challenge – “Is that the worst that you got”. 

Even the title ‘Crushing Whims (Ride)’ points to a dichotomy between the joy of everyday life and the band’s more cynical outlook. Sachet describes the process as usually beginning with a “narrative impetus” but “ending up sounding pretty abstract”. 

Ultimately, the beauty of Sachet’s newest work is how upfront it is. Just like their music, The Seeing Machine album cover exists as a little moment in time. An abstract capturing and slight heightening of the ordinary. As Lani notes, 

“I wanna say there’s a specific reason… I just like it”

Words by Madi Martin-Bygrave

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