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“There are parts of the songs that we don’t understand,” says Taylor, who mainly

focuses on the production of Jockstrap’s frenetic instrumentals, building upon the
skeleton compositions Georgia composes on her piano. “Whenever I make music there

have to be parts of it I don’t understand – you have to be expressing something you
don’t really know or can’t talk about, there has to be a mysterious thing. When we first

work on something, Georgia will write a song without any limits, then I’ll produce it

without any limits.”

“That’s what happened with [recent single] ‘Acid’, agrees Georgia. “I just sent Taylor a
very bland piano demo, and wasn’t sure where the expression would fit, and he shaped

and moulded the whole of that story with the production in places I didn’t know it was

supposed to be, and gave lines new meanings.”

Don’t let this fool you, though: Jockstrap know exactly what they’re doing, even if the
results occasionally catch them off-guard. Having met at London’s world-renowned

Guildhall School of Music and Drama, they’re an articulate, self-assured pair, and a

sense of intentionality and creative curiosity permeates our conversation.

They’re now in their final year of study, and speak eloquently about the ways in which

their coursework and extra-curricular music (including, but not limited to, Jockstrap –

Georgia plays violin in much-hyped avant-rock collective Black Country, New Road, and
Taylor works on a wide range of remixes, collaborations, and solo projects) interact with

one another.

“I’ve had really good teachers that I’ve connected with,” says Taylor. “Most of them have

just wanted the best for us, not trying to push work on us, making things more academic
– just letting things happen. On my course, what I’m doing is just what they want people

to be doing… it works out.”

“YOU HAVE TO BE EXPRESSING SOMETHING YOU DON’T REALLY KNOW – THERE

HAS TO BE A MYSTERIOUS THING” – TAYLOR SKYE