Terms and Conditions
Welcome to TONGUES, provided by Voodoo Voodoo Ltd (“we”, “us”, “our”). Access to and use of this website (“TONGUES”) is provided by us on the basis of a number of important terms and conditions, which are set out in full below.
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Changes to Terms
We are continually seeking to update and improve TONGUES. As a result, we may make changes to TONGUES, including these terms, at any time. You will need to review these terms regularly so that you are aware of any changes we have made. You will be legally bound by the updated or amended terms from the first time that you use TONGUES after we post the changes on-line.
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Third party websites
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The extent of our responsibility to you has been determined in the context of the following:
access to TONGUES is provided to you free of charge;
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Whilst we will endeavour to ensure that TONGUES is available to you and that content for which we are responsible is accurate, we cannot make any legal commitment or representation to you that TONGUES will be available at any particular time or that it or any TONGUES content will be of any particular quality or fit for any particular purpose. However, we will exercise reasonable skill and care in providing any service to you.
We can accept no liability to you for any of the following types of loss (should you suffer any of them as a result of your use of TONGUES):
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any business loss you may suffer, including loss of revenue, profits or anticipated savings (whether those losses are the direct or indirect result of our default);
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We can accept no liability to you if we fail, or are interrupted or delayed in the performance of any obligation because of:
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To the extent that we are practically able to do so, we may terminate your access to any part of TONGUES at any time without notice if you breach any of the terms.
If any of these terms are determined to be illegal, invalid or otherwise unenforceable then the remaining terms shall remain in full force and effect.
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© TONGUES — An initiative by Voodoo Voodoo Ltd


Privacy & Cookies Policy
The tongues.cc website is operated by Voodoo Voodoo Ltd (‘TONGUES’).
This privacy policy applies to TONGUES.
We want you to enjoy our website and services secure in the knowledge that we have implemented fair information practices to protect your privacy. By visiting our website, you are accepting the practices described in our privacy policy, including our use of cookies and similar online tracking technologies. If you do not agree to the terms of this privacy policy, please do not use the website.
TONGUES may change this policy from time to time by updating this page and you should regularly check to ensure that you are happy with any changes. This policy was last updated on 11 February 2020.
The policy outlines:
1. General principle
2. How we collect information
3. Types of information we may collect
4. How we use your information
5. How we protect the information we collect
6. Access to your personal information
7. How to contact us
1. General principle
There are two types of information we may collect from you when you use the website: non-personally identifiable information and personally identifiable information. Non-personally identifiable information does not individually identify you, but it may include tracking and usage information about your general location, demographics, use of the website and the internet. Personally identifiable information is information that you voluntarily provide when you set up a user account, subscribe to a newsletter, or query that can individually identify you and may include your name and email address etc.
We do not link non-personally identifiable information to your personally identifiable information.
We do not share either type of information unless required to run the website and services (see third-party services below). We will never sell either type of information.
This privacy policy does not apply to any information collected outside of the website, including offline or through other means (for example, via telephone or through email), unless otherwise stated below or at the time of collection.
2. How we collect information
We collect information when you:
— Ask to be placed on an email newsletter list
Make an enquiry about our services
— Answer a reader survey
— Provide information to us
Links to other websites, social media platforms
Our website may contain links to other websites of interest. However, once you have used these links to leave our website, you should note that we do not have any control over the information that is collected and shared about you. You should exercise caution and look at the privacy statement applicable to the website in question.
You may interact with content on our website through social media platforms we use such as Facebook by using their social features. Examples of social features include ‘liking’ or ‘sharing’ our content. We encourage you to review their policies before using their tools, which can be found at their respective websites. If you’d prefer that these social media platforms do not collect information about the content you share and use, we suggest that you don’t use their tools.
3. Types of information we may collect
The types of information we may collect includes:
— Account information (email address)
— Information you provide through a TONGUES reader survey which might include age range, education level etc
TONGUES is not responsible for any information you have provided in public areas of our website or on our social media platforms, which may then be viewed by other users.
4. How we use your information
The information we collect may be used to help us:
— Provide services you voluntarily subscribed to such as email newsletters
— Improve the quality of our website
— Promote services to you including advising you of updates or changes to our website and services
— Improve the website through reader surveys and feedback
Disclosure to third-party services
As part of providing our website and services to you we use a limited number of third-party services that perform functions on our behalf, including but not limited to website hosting, server monitoring, tracking user behaviour, marketing automation services, and customer service.
We have no control over, and assume no responsibility for, the conduct, practices or privacy policies of these third-party services and encourage you to read the policies of the services we use below:
TONGUES uses the MailerLite marketing automation service to issue newsletters. Find out more about MailerLite’s Privacy Policy and Terms.
When you subscribe to our email newsletters
By clicking ‘Subscribe’ you agree to the following: 
We will use the email address you provide to send you a weekly or monthly email. We also send occasional updates and, no more than once a year, reader surveys. 
The email address/es you provide will be transferred to our external marketing automation service ‘MailerLite’ for processing in accordance with their Privacy Policy and Terms. We use MailerLite to issue our newsletters. We have no control over, and assume no responsibility for, the conduct, practices or privacy policies of MailerLite
You can change your mind at any time by clicking the ‘unsubscribe link’ in the footer of emails you receive from us, or by contacting us at [email protected]. If you want to review and correct the personal information we have about you, you can click on ‘update preferences’ in the footer of emails you receive from us, or by contacting us at [email protected].
5. How we protect the information we collect
We are committed to ensuring that your information is secure. We have taken reasonable measures to protect information about you from loss, theft, misuse or unauthorised access, disclosure, alteration and destruction. No physical or electronic security system is impenetrable however and you should take your own precautions to protect the security of any personally identifiable information you transmit. We cannot guarantee that the personal information you supply will not be intercepted while transmitted to us or third-party service providers. 
Sharing your personal information
We will not disclose your personal information except; (1) as described by this Privacy Policy (2) after obtaining your permission to a specific use or disclosure or (3) if we are required do so by a valid legal process or government request (such as a court order, a search warrant, a subpoena, a civil discovery request, or a statutory requirement). We will retain your information for as long as needed in light of the purposes for which it was obtained or to comply with our legal obligations and enforce our agreements. 
Data transfer
This website is published in the United Kingdom. If you are located in a country outside of these countries and voluntarily submit personally identifiable information to us, you should be aware that information about you will be transferred to this countries. We attempt to comply with local data protection laws to the extent that they may apply to TONGUES. 
Age of consent
Our website is not directed at children under the age of 18 and we do not knowingly collect or maintain information from those we know are younger than 18. If you are younger than 18, you should not submit or post any personally identifiable information to our website. By using the Service, you represent that you are at least 18 years of age.
6. Access to your personal information
You may request a copy of the personal information we hold about you by submitting a written request to [email protected]. We may only implement requests with respect to the personal information associated with the particular email address you use to send us the request. We will try and respond to your request as soon as reasonably practical. When you receive the information, if you think any of it is wrong or out of date, you can ask us to change or delete it for you. 
We take all reasonable steps to ensure the information held is accurate, up-to-date, complete, relevant and not misleading. 
7. Contact us
If you have any questions about our privacy policy or our use of your information, please contact us at [email protected].

Ren Aldridge

April 24 / 2020


An artist, writer and musician with a huge political drive, Ren Aldridge uses her work as vehicles to question and inspire change.

She’s the co-founder of Petrol Girls, an unapologetic post-hardcore band with enraged lyrics motivated by feminist beliefs and leftist politics. The band is fuelled by a desire to raise awareness on injustices, and push for dialogues around sexism, violence, climate change, migrant solidarity and antifascism.

With a raw and rebellious voice, Ren actively seeks to celebrate difference, and help to dismantle codes that marginalise subcultures and minority groups.


Q >Tell us about moments in your life that helped define or change your identity.

A >Moving into a punk house in Peckham when I was 20, and leaving it again at 25. There were eight bedrooms and usually at least 10 people living there. We ran these wild house shows in the kitchen and towards the end had to start hiring scaffold poles and a beam to support the kitchen floor from the basement bedrooms below — the construction company started to recognise me when I called “Having another party are you? We’ll bring the usual. £50.”

To begin with, me and my best mate were the only women in the house, and both heavily involved in feminist activism through uni, so we also fought hard for just basic things like not having all-male gig line ups. I started running International Women’s Day house shows, and making zines for them, photocopied at uni. I started Petrol Girls for one of those house shows, never imagining it would take off as much as it has, and we recorded our first EP there drums in the kitchen, everything else in one of the bedrooms. Band practice happened in the disproportionately big bathroom in the basement. We screen-printed T-shirts and patches ourselves to help cover the costs of travelling to play gigs, hiring the cheapest car we could find and piling in underneath all the gear. 

So much else happened. I only knew how to rest when I was hungover. I was restless and furious. I wanted to make the loudest music and the biggest sculptures. My final piece at art school took over the scaffolding on the front of the main art building, 3D letters bodged together from metal and wood, each one as big as me, a physical manifestation of the lightest form of the street harassment that I experienced daily, the tip of the iceberg of male entitlement that so easily crosses into violence. As I built it, my body changed. Softness became sinew, my boobs shrank, I developed arm muscles, and I liked it. I got into cycling, riding a Frankenstein hybrid of parts welded together by someone’s mate, hammering up the Old Kent Road, slamming over potholes and weaving through the traffic, often with a hiking rucksack full of fabric to screen print at a studio the other side of London.

After uni, I left the house for six months to do an artist residency that I won a place on. It’s funny to me now that I was so scared to move outside the UK. I lived in Hamburg for six months, and became particularly good friends with the other woman on the residency, an incredible artist called Clémence Roudil, who I’ve collaborated with since. I built another huge text sculpture, from wood, wire and bright pink bin bags, and started collecting and stealing German flags, beginning the “nation fucking” project that has become an ongoing thread in my creative practice, resulting in the name of our latest record Cut & Stitch, the lyrics and video to No Love For A Nation, and CONTAIN / CONTROL — a commissioned piece for Transborders Festival last summer. Bizarrely, this commission came about because the curator, who used to be in charge of the residency in Hamburg, happened to have a drink in the bar that I now work in in Graz, Austria. 

When the residency ended, I booked Petrol Girls a tour from Hamburg back to the Peckham house, so I could also move my stuff in the van. I stayed there for another couple of years before moving out but not really into anywhere. So much has happened that I don’t even know how to summarise it. Petrol Girls have toured relentlessly. I’ve lived and half-lived in many places across Europe. It’s something I explored on Rootless on the new album, which we recorded just before I moved to Graz in Austria, where I’ve lived for more than a year now, though I’ve been away on tour for a lot of it. Leaving that house in Peckham destabilised me more than I could ever have anticipated, and since then I’ve been searching for that same sense of belonging, which I’ve not really found, though having a permanent place to live and a bar job that allows me to tour has been a huge relief. Not being able to speak the language of the place where I live very well has changed me a lot.

Q >What assumption(s) do people tend to make about you?

A >Oh, that I’m as confident, tough and aggressive as I appear on stage. Of course I can be those things, but this is not all of me, I choose the parts you see it’s a performance. I’m actually pretty socially awkward and I really struggle to assert myself in my daily life. And I’m horribly sensitive.

Q >The hardest thing you’ve ever done?

A >I’m not sure. I think I’ve had a comparatively easy life! I’ve experienced sexual violence, which I’m not in the right head space to discuss at the moment. And I’ve grieved, of course, like we all do at some point. At the moment I’m thinking a lot about my Granddad, because I’m just starting to get into plants, and the smell of the wet earth takes me right back to his garden. I’d love to be able to ask his advice. I’ve lost friends old and young, and three lovely uncles, but the only grief I’ve ever explored in a song was losing Skye, our family dog a few years ago, because it’s the only loss I’ve felt able to grieve freely over, without potentially upsetting someone. 

Something that unfortunately isn’t done yet, but that I’m finding pretty tough, is the legal case I’ve been fighting along with a group of women, for more than three years. We’re being sued for defamation by a man in the music industry because of comments that we each made separately regarding his behaviour towards women. We came together as a group after we first received legal letters from his fancy media lawyers, and luckily were able to find a lawyer who’s sympathetic to our situation, although, because there’s no legal aid available for these kind of cases, we quite quickly had to turn to crowdfunding once the costs exceeded way more than we could ever afford. We’re raising our legal costs as the Solidarity Not Silence campaign. It’s been really tough, and in this specific case, I’m not even one of the survivors — I can’t begin to imagine how hard it’s been for them to have to go over these traumatic experiences repeatedly. We often have to respond to emails very urgently, so it’s felt like we can’t ever really relax or switch off. I think we all burnt out within the first six months. We’re also a group of very different women, and working together hasn’t always been easy in such a stressful situation, but I’m so proud of all of us for how far we’ve come and how much we’ve managed to support each other. If we can keep our legal representation then I really believe we can win this. More information here.

Q >Your greatest source of satisfaction?

A >One day I hope that it will be winning this legal case!!

At the moment I think it’s finding the right words, whether that’s to fit to music when songwriting, or to convey an idea that I’m writing about.

Q >Who / what inspires you?

A >Conversations, I think. I love having really intense conversations with people, and I think, or hope at least, that I’m getting better at listening properly. It’s one thing to develop an idea in your own head but the perspectives that other people can give are so invaluable — they can open everything up.

Q >Which things would you like to include more in your life / and less of?

A >More creating and community activism, less touring if I’m totally honest! By creating, I mean writing and art in whatever form makes sense at the time: lyrics, articles, textile pieces, site specific interventions, sculptures, drawings, poems, stories… I love to tour, but it completely exhausts me, and I haven’t had much energy for all the other things that I care about in the last few years, so I’m trying to work out how to balance that out. Reading G.L.O.S.S.’s statement about why they broke up was a big wake up call for me — it put words to the feeling of disconnection from community, which I’ve had for a long time — on tour you’re always just passing through. Of course it’s a massive honour to be able to play in so many different places and meet so many incredible people, but there’s a balance to be found somewhere.

Q >Tell us a story you refuse to forget.

A >I’ve heard a lot of stories from people without papers that really aren’t mine to tell. One poem, written by a friend that I met in Calais, stuck with me ever since. He wrote it out on a bit of paper for me to take back to the UK, before he managed to get across, because he wanted as many people as possible to hear it, so that maybe they’d understand the situation of the people trapped at the border. Completely by chance, a few days ago, I saw it printed at the introduction of a book called Voices from the ‘Jungle.’ I haven’t had a chance to read the book properly yet, but I’m really happy for him to see his words in print.

Q >Challenging conversations, introspective moments, inspirational triggers, political views, social shifts: which topics do you find yourself debating these days?

A >These days I guess everything is in the context of the COVID-19 pandemic. Inequality, surveillance, the role of the government, the way human life is valued, homelessness, domestic violence, access to health care, freedom of movement, climate justice — all of these topics and so many more are being put into sharp focus at the moment. It’s quite overwhelming. But it’s an unprecedented time to think beyond “normal life” because we’re all being forced to — whether we want to or not. Things won’t be the same even after we get through this, but we have to pay attention, think and participate in civic life to impact on what direction this is going to go in.

Petrol Girls. Photo by Charles Engelken

Petrol Girls: No Love For A Nation (video still), 2019

GIVE US A SMILE LOVE, Goldsmiths BA Fine Art degree show — Ren Aldridge, 2013

Petrol Girls at Kantine Berghain, Berlin. Photo by Gringolina, 2020

PHWOOOAR — Ren Aldridge