INTERVIEW: Sonitus

INTERVIEW:

 

 

Sonitus

_________________________

IN terms of bands that really capture the eye and motivate the brain…

PHOTO CREDIT: Hannah Anketell

your options might be limited, at best. Among the knuckle-bleeding Rock gods and the generic, image-conscious Indie luvvies: where does one go for something both intense and intelligent? Well, one option would be to embrace Classic music but that can be a hard and unenviable chore – some grand moments but a lot of forgettable compositions. What one should do, instead, is to have a look at the boys of Sonitus. They are based in East London but are not, as they wittily and fearfully suspect, in an area that has been gentrified to the nth degree. The guys chat about their new single, Alleviate, and why London’s dwindling club scene will cause problems; how their future E.P. is shaping and the nicknames assigned to one another – the hardcore, tougher Spice Girls, if you will!

____________________________

Hi guys. How are you? How has your week been?

Dein: Really great. Loving the positive reviews we've had on the tracks so far. Aside from that, I started a new job with a tech. firm - learned lots of great things.

Nate: Iit was half-term so had some welcomed time off to see Doctor Strange.

Dein: Went to a couple gigs; wrote some music. You know: regular shit.

For those new to your music: can you introduce yourself, please?

Nate: If R. Kelly and Alice in Chains had a baby and the crew from A Perfect Circle (were) its godparents.

Dein: ...with a little-black-mirror-attitude to keep the themes modern.

Can you tell us about how you chaps came together? Was it an instant connection or did it take a while for things to fuse?

Dein: Through previous girlfriends…

Nate: …and at a speed dating event for killer clowns: it was love and first fright.

Dein: Dad jokes aside: my ex introduced me to Russell who was working with Nate and brought him in; who then brought in our drummer Romulo; who then brought in our current bass player, Scott - who is overdue on introducing us to someone new. This is a pretty good way of letting him know that, passively-aggressive...

PHOTO CREDIT: Hannah Anketell

You are from a part of East London that has not succumb to posh coffee shops and designer outlets. Do you think that helps your creative process and do you fear too much of the capital is becoming gentrified?

Nate: Really great. We're dreading the day that Cereal Killer Cafe pops up next to a Punjabi bridal store…

Dein: …or another vape shop. Actually, how do you know where we live? (*Grabs tinfoil hat*). Yeah, we've been lucky, especially with our neighbours too,  who happen to be producers when we moved in; love at first sight I suppose. Actually, we'll be moving next week. I miss my fancy coffee shops.

How important is London with regards music in general? Do you think there is anywhere on Earth like it and what does it mean to you?

Dein: London, to me, is a very important part of my current life as a musician. My family has a history with music. My sister, most notably, has been doing quite well in music and quite a lot of my current friends ended up being associated with music - as I grew more confident this could work for me as a lifestyle.

I know it seems like the city is fighting music - especially live - but the hunger for music is there. If you keep your ear to the ground you'll sense the movement.

Nate: Pretty important. I'm no demographicalologist (sic.) but being in London is really great. The people here are really great.

I know you have brought a lot of influences and artists into your music. Which bands and acts were important to you guys growing up?

The Wiggles.

[soundcloud url="https://api.soundcloud.com/tracks/284414906" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Alleviate is your current single. It is quite an angry song. Who brought the idea to the table or does it represent a shared feeling within the band?

Nate/Dein: When Jeff Fatt (the purple Wiggle) left the band, I got angry. We all got angry...

The track urges the listener to break out of an everyday funk and societal ruts. Do you feel we are too comfortable in our daily lives and not motivated to better ourselves? What do you think the reason behind this is?

It’s more that it’s become too easy to settle in or trapped in your daily life.

Dein: Yeah I did; brought the concept to the table. My role (at least for this E.P.) has been to write the songs.

I wouldn't say Alleviate is angry: it is, however, very passionate about driving a very specific message - of looking at reality and realising that it's 'just a ride'.

[soundcloud url="https://api.soundcloud.com/tracks/198612799" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Your music has political messages and carries a lot of rage. Are there any particular issues and problems that are compelling your new music or just a general anger?

Dein: Yes and no. I think we have a decent mix of political entropy and empathy - especially for the leaders of the world. In my mind, their role is too complex to comprehend but there certainly is a fire within us to show the madness and mess they have created - simply by putting a signature to yet another deal or partnership. We've, however, also touched on many subjects in the songwriting itself too with a very broad range stretching from racism, sexism; challenging power and, of course, sex. We are a product of our time though and it's hard not to be politically challenging in a world of ‘Trumps’. The last thing I wanted was for us to be was another sedated music act speaking about nothing. The Internet is already full of that (but we're also aware enough not to stray too far into pretentious waters). All the lyrics (I feel anyway) are written to be challenging and challenged.

PHOTO CREDIT: Hannah Anketell

Kleptocracy is your seven-track, forthcoming E.P. What can you say about what we can expect from the E.P. – in terms of themes, ideas and genres?

Dein: I wouldn't know what to tell someone to expect. It would be too easy to say the unexpected but it certainly is a testament to what we stand for - and a seven-track E.P. is the first step, and somewhat ballsy, if I do say so myself.

How do songs form for the band? Do you set time aside to write specifically?

Nate: Sometimes, but not really.

Sometimes the best stuff comes when you're not sitting down with a guitar, pen and notebook.

Quite often we'll just be noodling along on the guitar the ideas introduce themselves to you.

Are there any new acts or bands you have been impressed by and suggest we check out?

Nate: Rootwork and Blueyes.

Dein: My good friend Sample Answer;  Leyendekker too. I've been really impressed with them. They have a really good thing going on there.

Looking at the band, it seems like there are a lot of different characters and personalities – like a male, hardcore version of Spice Girls. What nicknames would you give to each member?

We already have. Russell took the privilege of naming us: Skittles; Mulan; Coco; Bam-Bam; Bacon. Guess who's who?!

On a more serious note – and a question I ask London-based musicians - is how do you feel about the recent club closures and shrinking venue scene? Is it a concern for bands like yourself and do you think the government should be more proactive?

Dein: It's heartbreaking, for sure. If new and better venues are to be built in place then great, but that doesn't seem to be the case - and a part of me is devastated by the notion that music will be quarantined to certain zones. If you're big enough to fill them great and to the rest of you good luck or better yet, don't play at all. There is still hope in like-minded people though and it will always find a way but not just the Government. All people who have interest in music should be proactive. Every voice fuels the fire. We don't all like silent discos: some of us like to be social in music. It's already hard to 'make' it in music for a new act/brand with no budget and no funds. Don't make it impossible.

 

What does your gig schedule look like? Have you got any dates coming up people can come see you play?

We're really focused on getting this heard so everything right now is focused on the 18th November.

We will have more dates announced soon as we have a lot of excitement bubbling around us - that we can't really speak of yet. It’s there and it's coming, but for now, the focus is on launch.

There will be those inspired to follow you into music. What advice would you provide them?

“No comment”

Finally, and for being a good sport, you can name a song (not your single as I’ll include that) and I’ll play it here.

Dein: For me: Leyendekker- Salt is what I'd suggest. Brilliant tune. I've recommended my sister enough so this will do

 [soundcloud url="https://api.soundcloud.com/tracks/241652648" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

________________________

Follow Sonitus

 

Official:

https://www.sonitusband.com/

Facebook:

https://www.facebook.com/sonitusmusic/

Twitter:

https://twitter.com/_sonitus

Instagram:

https://www.instagram.com/_sonitus/

SoundCloud:

https://soundcloud.com/sonitusmusic

INTERVIEW: Luk

INTERVIEW:

 

Luk

_________________________

LUK is Lukas Beynon: an up-and-coming Electronic singer/song-writer…

from South Wales. The curly hair and bright eyes front a talent that is like nothing else. Part-D.I.Y., part-abstract; always laced with tropical, engaging lyrics; stunning, bubbling synths. and bass-heavy beats. Take in that warm and delirious aural delirium and you have an artist that is able to regale and seduce through his music. Movement is Luk’s single and one that is daring, warm and nuanced – few new artists come out of the stalls so solid and intriguing. I have been posing some questions to Luk in the hope of learning more about a fantastic young talent. He talks about battling dyslexia and how he got into music; the growth of South Wales’ music and the festivals he yearns to play.

_____________________________

Hey Luk. How are you? How has your week been?

Hi. Good, thank you! I’ve been freelancing some for Ministry of Sound and Project Forte -unapologetically rinsing BANKS’ The Altar as I go.

For anyone who has not encountered your music: can you introduce yourself, please?

I am Lukas. My mates call me Luke and text it as ‘Luk’. I’m 21-years-old from Merthyr Tydfil (South Wales valleys) and I make Electro-Pop. music - in hope to invite the sun out as it’s not too common here!

How did you first get into music? Was there a particular artist or moment that inspired you to take music up?

My father has always been very musical. He’s a beautiful singer (as is my mother) but that was inherited by my older sister, Leah, who has also been in bands and performed (and) stuff on the side.

My dad plays the guitar, drums; ukulele, harmonica and a variety of abstract world musical instruments he’s picked up over the years. However, as hard as I tried and persisted I could never pick any of that up! My other sister and I were always very visual but like a lot of us working-class valleys folk, there came a point in her maturity where it wasn’t realistic to be creative. I too felt the grip of such a common misconception during my adolescence and totally disconnected from that side of myself in public - so that I didn’t defy the norm.

It was always a very different story behind closed doors, though: I had mountains of artwork and libraries of ideas. To this day, our attic is full of my used paper and memories of a time where my body would run on imagination alone - until, of course, I would have to leave the house. I was still playing with sticks in the back garden until my early-teens. I just couldn’t shut it off, and for some stupid reason, I was deeply ashamed about that.

I felt like an anomaly amongst a family pedigree of netball and rugby captains; bare-knuckle fighters, tradesmen and every other stereotypical traditional Welsh family cliché.

Short answer: It’s hilariously personal. I immersed myself in music when I finally found a way to make it. I was inspired to pursue it by the prospect of connecting to others as well as finding a happier version of myself through it.

Long answer: I’ve retyped this answer so many times now because it’s SO long (and I’m very dyslexic, haha) but to summarise: there’s no real pinnacle or defining point where I got into music; I’ve always loved ‘creating’ and longed for some kind of approval from my father. I guess the moment that I found a way to make music (the relief!); I still kept it to myself. I did that right up until the first week of university where I was surrounded by like-minded creative people for the first time in my life and they encouraged me to share it with the world. The response I had from B.B.C. Introducing and the internet in general, as small as it was, gave me exactly what I needed to carry on - and ignited a spark in me that continues to burn and surprise even me with its intensity.

Azealia Bank & M.I.A.’s commitments to bending genres and being these ultra-creative artists - without actually singing at the time - made me take a step back and think: ‘if they can do it so can I’, so I did. Up until then, I was producing my own amateur fruity loops demos with no intention of singing; I still had absolutely no confidence and felt as though the only way I could put my voice to my music was by rapping, and to save time (like Azealia did) I wrote to instrumentals of songs and songs I liked - but even then, I didn’t have the confidence to talk in key. After getting a great response every time that I put something new out there; I began to chase the euphoria it gave me, knowing I was making someone, somewhere feel the same way about my music as I do. Now, I’m continually meeting people that build my confidence from what was initially a black pit of self-loathing. So, I guess, it’s how my music has helped me that keeps me focused on building my future around it. All I know is I love my music: it makes me happy and I want to carry-on making it so I will make it happen. I don’t see a future in which I’m not making music.

I imagine there was a lot of music played in your household growing up? Who were their artists and musicians you were exposed to as a child?

Christy Moore, Garth Brooks (Thunder Road used to scare shit out of me!); Celine Dion and Boyz II Men - but my sisters made sure to teach me that ‘cool kids’ listened to Britney Spears, Christina Aguilera and Spice Girls (not forgetting S Club 7 and Steps of course!). I literally only ever listened to what was put in front of me from Linkin Park to Abba: The Gold Edition - until my mid-teens where my musical sense of self exploded like The Big Bang. These artists had left a huge impression on me, though. I would listen to something super-weird because it wasn’t what I was used to. I was like some kind of prototype hipster, but thankfully, this attitude went on to introduce me to music that inspires me deeply and summons my inner artistic self.

[soundcloud url="https://api.soundcloud.com/tracks/286024369" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Movement is your new single. What was the reason behind writing the song?  It is lighter and less heavy than some of your other work. Is that a sign of things to come?

The track itself is open for interpretation: some people see it quite literally - as the colours being the lights on the dancefloor - and the 'close your eyes' lyric translating as an order to let loose and forget your worries (and enjoy the music).

It was written and demoed incredibly quickly with one session - which lasted no more than four/five hours. The reason for this was its importance to me at the time. It is, of course, pressurising trying to pursue your passion and it's obvious that the creation of music itself is crucial to the reason why you love it. It's easy to forget that (sometimes) when colossal mountains of admin. work like P.R., label contact and gigging crush you. When it peaks, you find yourself facing this tsunami-like wall of water of thought and worry. It’s completely overwhelming. This song was (written) to remind me that it would always be alright as long as the music 'moves' me. It is a message to myself during the heavy storytelling in the rest of my music.

Lee House co-produced the track. How did you come to work with him and what did he bring to your music?

I was introduced to Lee via a Welsh artist development scheme called Project Forte. They helped fund our time together and release both Movement and Magnetic You. I had heard of his work with HVNTER and I couldn’t be more excited. Up until working with him, I felt my demos. were misunderstood; mostly because of my underdeveloped producing skills - but Lee saw what I saw straight away when nobody else could and we were in each other’s heads from there. It was so easy and natural and also a massive relief.

Movement changed a lot during its development. Initially sounding much darker (think in the vein of an OSWLA artist). We managed to nail the sound for Magnetic You straight away taking influence from Mura Masa, Hot Natured and Jungle. So, we used that track as a reference when deciding how the final version of Movement would sound. He brought professionalism, pure skill and everything else I needed to take a giant step forward.

 [youtube https://www.youtube.com/watch?v=VqaTC18TudA&w=560&h=315]

Looking back at your time in music so far: how would you say you’ve developed and changed since your earliest moments?

I think my most obvious improvement is my confidence. I started off too scared to rap into my phone - under the covers with my door locked and the light off - and now I’ve performed at festivals and supported artists like Man Without Country and Money.

I’ve found that self-belief is EVERYTHING. Like my voice and live skills: even writing and the process of conceiving ideas - and feeling inspired - improve ten-fold when you can kind of realise and believe in even the smallest bit of potential you have. It opens up so much opportunity for you. Contentment and happiness is an end goal of mine and creating music lets me taste that.

With a new single out: can we expect to see an E.P. or album arriving soon?

Of course! I’ve got complete tunnel vision for that at the moment. I love making music (admittedly a lot more than I love performing) so I’ve written and continue to write a ton of songs for an E.P. which hopefully could turn into an album eventually - if I’m fortunate enough to capture the right attention from the right people! At the moment, I’m very independent but I’m learning as much as I can as I go.

Hotlove has been the E.P.’s working-title the entire time because I feel it’s what best describes this body of work. It tells the story of a quick burning love for someone that starts off explosive - hot and bright - before fading (not without a fight) into something cold and dark. There are two mid-tempos called Fireblue and Starkiller that I’m not too sure I want out there - because they are like super personal, haha.

Your songs – Movement certainty – blend tropical lyrics, hard beats and bubbling synths. This style of music and compositional sound is being favoured by a lot of new artists. Why do you think that is?

I’m not sure but I think it’s great! I’ve always been attracted to that sound and the visuals - and emotion - I see and feel when I listen to it. Maybe it’s because it sonically feels good and carefree regardless of the subject or context - and people see it as an escape - given that the world is a pretty uninviting place at the moment. To be honest, I have absolutely no idea, haha. I hope it lasts, but trends never do.

Wales is a part of the U.K. that boasts many great musicians but is often overlooked. It may be an all-sweeping question but what is the music scene like in Wales?

It is stronger than ever. I’m not sure if that’s because I am more aware of it now that I’ve become a part of it, but I feel as though, in general, Welsh artists are finally finding their way to national and international territories. Most recently, Betsy, Estrons; Pretty Vicious and Catfish and the Bottlemen.

Thankfully, opportunities and possibilities continue to open themselves up to all kinds of artists in Wales - as our government has upped investments in our creative sectors in a bid for us to strengthen our colourful and unique culture.

It can be easy for Welsh musicians to stay Welsh musicians their entire career, however, and it’s very easy for Welsh language artists to do so successfully - which puts them in danger of staying within the local Welsh bubble. But, with a new online, globally-connected generation emerging; bigger ambitions and a broader spectrum of sounds are being discovered which will hopefully continue to turn heads our way - to recognise what it is that has given us the name ‘The Land of Song’.

Are there any artist – either locally or mainstream – you recommend we check out?

O.M.G., yes! I was housemates with Tom from Tibet. Watching them progress last year was hard because everything they do is so fucking awesome. Their latest video for There Is a Place is wicked! X&YO and Hvnter are killing it at the moment too. I’ve heard Hvnter’s E.P.: be prepared to see him everywhere when it drops!

It seems like you are an artist that wants to take your songs around the world and transcend from the smaller venues and gigs. Would this be a fair assessment and which countries/venues do you dream of playing?

Totally fair! I’m still pretty shy on stage but the idea of performing at events like Burning Man, SXSW or Coachella instantly pop to mind. It’s pretty ambitious, I guess, but it just seems right. They are always jam-packed with exciting Electronic artists past, present and future (plus they’re sunny, haha).

In terms of where around the world, I would love to take my music everywhere, to be honest - especially if there’s anybody there that wants to hear it.

There’s nowhere I don’t want to see: I’d  absolutely love to go to Japan, though.

Looking over your career so far: which memories and gigs stand out?

My debut gig supporting Man Without Country at the Norwegian Church in Cardiff Bay. I like jumped off stage (nearly fell) and got in people’s faces with my visuals beaming behind me; everything felt so right. My latest gig at HUB festival was a real stand-out, though. It was the last gig with my old bandmate Manon and half-way through the first song everything but the mic. and the metronome switched off - and wouldn’t come back on for the rest of the set until the last song, haha. The audience evaporated before the first song was up. We spent the rest of the set dancing to metronome and performing what we could in an empty room whilst rearranging all the wires to our equipment. It was the biggest laugh and a real showcase at how far we had both come confidence-wise. Other highlights include the radio support I’ve received and all the support in general - and being introduced to Lee House and, of course, releasing Movement.

For those musicians that want to follow in your footsteps: what advice and guidance would you offer?

Make music because it makes you happy and you enjoy it. Always be nice.

Don’t give up if you want to make a go of it and believe in yourself and your music. There’s a reason why these phrases have become clichéd: if they weren’t true nobody would be saying them :)

Finally, and for being a good sport, I’ll play any song you want (not your own as I’ll put one in)…

Haha. The impossible question! I woke up with Hot Natured by Isis in my head so why not listen to the universe on this one?!

[youtube https://www.youtube.com/watch?v=9qMQkQG9-U0&w=560&h=315]

________________________

Follow Luk

 

Facebook:

https://www.facebook.com/00000Luk

Twitter:

https://twitter.com/00000luk

YouTube:

https://www.youtube.com/channel/UCNeAvsX4c_nhIM0314JZuPg

INTERVIEW: Oh Malô

INTERVIEW:

 

Oh Malô

_________________________

AFTER spending a lot of time assessing/interviewing British acts it is refreshing…

finding a great U.S. band in Oh Malô (oh muh-low). They are masterful at slinging shape-shifting sounds with delicate, cobweb-light vocals. Combining influences of Bombay Bicycle Club and Jeff Buckley – through The Beatles and Patrick Watson - the Boston-based band has picked up award nominations and made a name for themselves with the local crowds. Their debut L.P., As We Were, puts all their influences and styles into one record and blend colours and emotions together – from vengefulness and tear-jerking outpouring to reflectiveness and melancholy. Recorded over the past two years at various homes across Boston, L.A. and Nashville (Providence too) – the boys are making a name for themselves in the U.S. and have the potential to transcend into the U.K. and Europe. I quizzed the band about their debut album and their rise to prominence; the background behind Miss You (whose video is out now) and what they hope to achieve in the coming months.

HEADER PHOTO CREDIT: Ryan Song

___________________________

Hey guys. How are you? How has your week been shaping up?

Hey! Our week has been great. We're currently on tour in the Northeast and have a day off to catch up on things.

For those new to the band: can you give us a quick introduction, please?

We're an Indie-Rock band named Oh Malô - out of Boston, MA. We just released a new music video for Miss You : the single off of our twelve-song debut L.P. As We Were that we self-released back in April.

Apologies if (one suspects) you have been asked this relentlessly: what is the origin of the band name?

The band is named after Saint-Malo, France. I (Brandon) visited there back in high school and wrote the very beginnings of the material for the band when I was there. It's a special little place.

[youtube https://www.youtube.com/watch?v=NZu7vqCxlaw&w=560&h=315]

The video for Miss You has just arrived. Was it fun shooting the video and who usually comes up with concepts for your videos?

It definitely was a lot of fun making the video. We had our good friend Amy Allen from the Boston band Amy & the Engine do a cameo - and also our long-time collaborator Sam Harchik film and direct it.

The whole band got to contribute to the concepts and locations for the shoot this time around which was a cool way to collaborate outside of our music.

What is the inspiration behind the song? Did one member come in with the idea fully-formed or was it meted out over a few jams/sessions?

That song was the final song we wrote for the record so it came fairly easy. We'd been recording most of the summer and put that together in just a few days. It felt great to add some levity to the record, at least musically, after working on many (of the more) intense tracks on the record. I wrote the foundation for the song on a morning when the rest of the band was dead asleep so I was trying to be particularly quiet. I think that's why the verses, in particular, came out so gentle sounding.

As We Were is the album and has gained a lot of positive feedback. How does it make you feel to receive kudos and appreciation? Were you expecting such a reaction?

We couldn't be more grateful for all of the positive feedback we've received since putting out the record.

We worked two long and hard years writing and recording it, and at times, it felt like it would never get finished or released - but it's been incredibly rewarding to have it out and have new people all over the world getting their ears on it.

You are about to leave for a tour of the U.S. East Coast. Is it your first time there and how excited are you as a band?

We've been based out of Boston since we started (in 2014) and have done a full East Coast tour as well as several weekend mini-tours over the past year - so we're starting to get into a groove in this region. We're also excited to tour around this area since many of our families live nearby and we get to stop through to hang out and have a home cooked meal.

Being based out of Boston, you must hear a lot of other great acts in the city. What is Boston like for bands/great music – how does it vary to the rest of Massachusetts?

Boston certainly has a lot of incredible bands. We're super excited to see some of our favorite locals such as Bent Knee, Animal Flag and Bat House (recently) start picking up a lot of much-deserved attention. The Boston scene seems to extend out towards Worcester and Western Mass. with its thriving D.I.Y. scene especially. We've had our fair share of basement shows over the past few years that have turned out being some of our favorite shows.

Are there any local bands you advise we check out?

Bent Knee, Animal Flag; Bat House, Amy & the Engine and The Western Den are some of our favorites.

Your music has shape-shifting sounds and boasts gorgeous vocals. Has the band’s sound always been defined as such or as the result of experimentation and change?

Thank you!

We definitely took a lot of risks and experimented all over the place on As We Were, so yes, our sound is rooted by that.

We all come from very different musical backgrounds and have probably the most diverse taste in music that you'll ever hear of from four people in the same band.

The vocals have been compared with that of falsetto kings Patrick Watson and Jeff Buckley. Is it humbling or scary hearing that sort of name-dropping?

It's certainly humbling. Those two artists especially I think have done pretty ground-breaking things with both their voices and the arrangements that accompany them.

In terms of the compositions and sound in general: which bands and artists have been most influential to you?

Radiohead, Patrick Watson; Grizzly Bear, Young the Giant and Bombay Bicycle Club

You have a lot of great U.S. tour dates in the pipeline. Which are you most excited by and any plans (for the band) to come to the U.K.?

We always love playing N.Y.C. and Boston of course. It's really cool to see people come back to shows after visiting a city a few times.

We'd love to come to the U.K. and will visit and soon as we can get a solid amount of shows booked!

[soundcloud url="https://api.soundcloud.com/tracks/250735523" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

If each of you had to choose an album that has been most important to you: which would they be and why?

Jack:  Abbey Road – The Beatles. That was the album that inspired me to play guitar. 

Isaac: For Emma, Forever Ago - Bon Iver. It shows how music can be therapeutic.

Brandon:  Grace - Jeff Buckley. This record really just woke me up. I learned about who he was pretty late into playing music and I was stopped cold when I heard it for the first time. It was incredible to me the things he was able to do with his voice and the several personalities he could switch between.

Jordan: Carrie & Lowell - Sufjan Stevens . That record taught me how to listen to a full album front to back.

Any bands/artists wanting to follow in your footsteps: what advice would you offer them?

Patience is everything.

This is the most up-and-down career to get involved in and you really just need to prepare yourself mentally and physically for how demanding it is.

Don't forget to enjoy the whole process because that's what really counts at the end of the day.

________________________

Follow Oh Malô

Official:

http://www.ohmalo.com/

Facebook:

https://www.facebook.com/ohmalo/?fref=ts

Twitter:

https://twitter.com/OhMaloMusic

Instagram:

https://www.instagram.com/ohmalo/

SoundCloud:

https://soundcloud.com/ohmalo

YouTube:

https://www.youtube.com/channel/UC3HUCjD2VM6luB3OMA6QXWA

INTERVIEW: Night Wolf

INTERVIEW:

 

 

Night Wolf

____________________________

I have been following Night Wolf’s creator Ryan Wilcox for…

a long time and he always provides sensational, immersive music full of atmosphere, beauty and mysticism. Having released a couple of songs recently, he is making steps and plans for the coming months. After traveling around the world – continuing to do so – there is no stopping the Night Wolf juggernaut. Not only travelogues and music but a lot of great news and unveilings are afoot - which is what the music world needs. Rather than try to describe and assess it all myself: it would be much more fitting the man himself explain it. Night Wolf looks at the artists that mean most to him – there is a LONG list – and why travel is so important.

___________________________

[soundcloud url="https://api.soundcloud.com/tracks/220412955" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Hey Ryan. How has your week been? What have you been getting up to? For those who are new to your work: can you introduce yourself to us?

My name is Ryan Wilcox. I produce under the name of Night Wolf and I am from Luton, U.K. (born In Milton Keynes). Currently working with The Music Jar (www.themusicjar.co.uk ) under a non-exclusive deal: I stock a selection of music for use in T.V./game/film & radio (opportunities). I have produced music for film trailer The Essex Boys Retribution - which was released to Netflix - music for the U.K. government and officially remixed Mark Morrison. I have also had my work used at other synch libraries such as Sky Rocket Records, Gung Ho Music; SumSerious Music and The Cutting Edge.

Having collaborated with many up-and-coming artists I have released 5 E.P.s (Watts the Time Mr. Wolf, Moonlight E.P.; The Co Lab Vol. 1, Nightmare Before Christmas and soon-to-be-released: Learning Pace of Travel. I have featured on a wide range of single releases and compilations.

You play around Hip-Hop and Electronica but incorporate so many genres. How would you define your music? What attracted you to this eclectic style and range? Do you think it allows you more creative freedom and possibility?

I started out in music playing the drums and piano: I was in various local Rock bands and produced the majority of the work. I moved into singing/songwriting from the age of twelve and have continued (to try to) enhance my skills in music production - all being self-learned.

I use little more than a laptop, a midi keyboard and headphones to produce the majority of my work - as I am not settled in one place for very long.

I would say and hope it catches different stages of my personality and feelings, in turn (hopefully) allowing others to reflect on their own. I like to think that you can either sit and think to some tracks whilst you can just have it as backing music for others. I like to experiment with many styles but it is really down to how I am feeling at the time when I create a new track and my surroundings. I would say my style is mainly Electronic - based on to how I produce the music - but it has elements of Ambient, Classical, Pop and Hip-Hop. It is always aimed more towards the use for film/game or T.V. projects - rather than trying to appeal to a more commercial use. I would like to continue to collaborate with new artists and musicians to be able to further produce new styles and influences.

I do like to work with artists with the intention of getting radio play and being commercially friendly but this is not what I am striving for in the long run. To be able to see my music alongside a story being told is by far more rewarding for me. But, of course, I will continue to try and balance my styles to be able to have commercial releases alongside stocking my tracks. I do enjoy trying to switch the main style influence with each new track I release after releasing a certain style.

I believe no one should settle for what sells and stop testing their abilities.

I love to experiment but this may also be my Achilles heel as It does not prove as easy to focus on one specific route to promoting and trying to build a fanbase in just one area. It certainly gives me my own freedom to make a track how I would like to hear it but maybe restricts its possibilities in other ways. I grew up listening to and continue to listen to - a very wide range of styles from other artists. My dad, mum and sisters all had very different tastes in music that influenced me growing up. I would like to say that I listen to and support anything that is good music; that has passion or breaks from the norm.; music that does not sound like it has been produced to a set format - just to sell to the majority of sheep who are willing to buy it. I do not have much time for clear fame-hungry, egotistical same olds who bring no originality to their art at all - other than rebranding an already -proven method someone else had success with as their own (just music that shows the artists' personality). I am not saying that everything I produce is completely original - like it has never been heard before - but I do like to pride myself in knowing I am producing music I understand myself in better. I am trying to capture how I feel at that time so I am able to listen to it again most likely cringing in five years’ time and remember how I was feeling and where I was at that point in my life.

[soundcloud url="https://api.soundcloud.com/tracks/284538570" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Good for Me is the latest track from you. Can you tell us about its creation and how you came to work with Elsadie?

Good for Me was originally a track titled The Tailsman. It was just an instrumental that I had already completed this year: I was interested to hear what it may sound like with a female singer. I have previously worked with Elsadie on track Move It On ft. J.A (video available here)

I wanted to see if she would be interested in writing to this track so I emailed her in regards and she sent me back a rough version. I think her voice goes so well with this track and she made it her own. I really enjoy how you can almost relate to the first track we worked on within Good for Me as it is like a sequel or prequel to Move It On - depending on how you want to see the glass! The track was completed in a small town in Hungary and vocals were recorded back home in Luton, England. This track will be released on upcoming E.P., Learning Pace of Travel.

[soundcloud url="https://api.soundcloud.com/tracks/284196175" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Low Supply is another new song. What was the inspiration behind that and what does the song mean to you?

Low Supply is a song of frustration. I had been working with a company as a programme coordinator; traveling back and forth from Budapest to parts of Poland. I sadly lost my role due to a still unbeknown complaint about me to the Polish office by a volunteer! I am still working together with Hungary in these programmes but it was a shock to find out I no longer would work in Poland - as I had pretty much planned the rest of my year around these events; even planning on potentially moving there next year to continue the role. After a couple of days of feeling sorry for myself, I wanted to produce a track to reflect how I was feeling and for some kind of temporary escape from my own thoughts. It's a mixture of depression and anger with an overwhelming feeling of failure whilst not knowing what the near-future now had in store. It has ominous undertones to it going along with my own thoughts! Again this song was created in hopes of it playing out to a certain scene and is now available for project download from The Music Jar.

 Learning Pace of Travel is your forthcoming E.P. What tracks can we expect to find on it and what was the idea behind its title?

I titled the E.P. Learning Pace of Travel as it relates to my last year’s experiences.  Learning Pace of Travel is a far more personal release that I have put out so far.

Its songs and lyrical content is a reflection of everything I have experienced during my travels and being away from ‘home’ for so long. From love to heartbreak; finding my own space and travel to money worries: it has tracks that are meant to uplift and remind you to keep your head up whilst others are more realistic in not always being a clear path to where you want to be in life. I love how I am not involved in the lyric-writing process for other artists. I send them instrumental ideas with my pre-existing own idea of what the song is about and what the subject would be. They seem to always be able to capture the underlying feel for the track: for instance, one of the tracks with AMRA being Bleeding Out Your Love was a song written by AMRA after I had sent her another instrumental that I created after a bad time in a relationship. She then sent me lyrics and we created a brand new song from it but she was able to capture what I was feeling without many words between us. The E.P. hosts eight tracks, being three extra than I usually (have released) on my previous E.P.s – with a good mix-up of styles. This is also the first of my releases where I have not only produced the music but I also have written the lyrics and sang on them too! The tracklist and artists are as follows:

1. Take a Hit - Charles X – produced by Night Wolf
2. Good for Me - Elsadie - produced by Night Wolf
3. Bleeding Out Your Love - AMRA - produced by Night Wolf
4. If I Were Too - Night Wolf
5. Need That Money - MillZilla - produced by Night Wolf
6. Music Is the Cure - Night Wolf
7. Cindolina - AMRA - produced by Night Wolf
8. Bitterness - Kite - produced by Night Wolf

[soundcloud url="https://api.soundcloud.com/tracks/284196175" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

(Would love for people to review this E.P.: my E.P.K. can be found one my website below. Whilst it is not ready for release just yet it is set to be released this year. You are able to stream and listen to the release on my website or you can watch and listen to a preview mix on my YouTube channel):

Night Wolf Website:

http://nightwolfuk.wixsite.com/nightwolf

E.P. Preview Mix :

https://www.youtube.com/watch?v=Eemq2YHuFq4

I truly hope that there is something for everyone on this E.P. and any fans of my previous releases will enjoy it whilst gaining new followers through this release.

I know you have been traveling and recording a song for each country you visited. Which country was especially memorable and what have you learned from your travels?

I have learned a lot from traveling and living away from home.

I have become a more open, more optimistic and certainly a less possession-orientated person! The more that I move about and have no solid base of my own the fewer belongings I have.

I have learned the importance of budgeting but have not mastered the balance yet of saving and enjoying - but this is down to my lifestyle maybe. I have enjoyed every place I have been: each has their own unique charm and each I have many fond memories of. I have learned that the world really is an amazing place to explore and I have learned that I will never end up in a nine-five desk job again. I want to continue to travel and see the world and meet new people and have new experiences.

I hate to feel uncomfortable in my surroundings but this is what makes it special (and what makes it a new experience) as you only find those once you step out of your comfort zone. I heard a saying but cannot remember the name of the person who quoted it: “Get comfortable being uncomfortable and find happiness in yourself”. I have been up to a lot since we last caught up properly. As you know, I set off last year with the idea to start recording a documentary called the Song of Travel. I have visited several countries in Europe - filming and recording for the project. It is still undergoing and I am not sure if It will have an end but the idea is to record people I meet; to a set tempo, 125B.P.M. on my little travel midi keyboard - at the end of the journey I will attempt to make one song out of all I have recorded. You can watch the completed film for England and France on my YouTube channel and can read what I get up to in my blog - which gives you a more in-depth insight to my experiences over the filming. It may be a long process to complete the full project and achieve what I would like but I am determined to complete what I set out to do. Even if there are long delays I will always come back to where I left off - this being a prime time example of needing to catch up right now! The blog will be updated A.S.A.P.! Hungary will be next and is in the editing process!

Song of Travel Blog:

https://songoftravelblog.wordpress.com/

YouTube:

https://www.youtube.com/channel/UC049NduiQYhIW7tbHzsddzA

[soundcloud url="https://api.soundcloud.com/tracks/287723717" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

How do songs come together? Do you start with a beat or tune or does it take a while for songs to coalesce?

I change the way I approach making a new track each time: sometimes starting with a beat and building from there and sometimes creating a melody and arranging before adding in other elements. If I have a good idea it usually starts to come together within the first session and I take a couple of days to go back and listen to it with fresh ears and work on it further. I tend to not mess around with a track once it has been completed - how I had hoped it to sound original and is full. I believe it to be like painting a picture: once the brush hits canvass and dries the outline for the idea cannot be changed easily. I like the feeling of knowing a track has been completed even if it has flaws. I can listen to my development through going back a few years.

I will usually create an instrumental before having lyrics and then send them to those I work with - to further the idea into a song - but I do have many songs completed the opposite way: creating around lyrics already sent to me.

I can usually hear which direction I would like to push the song within the first couple of hours and most tracks I have released commercially have been produced in one-two days - not because I am rushing them but I feel I would destroy the idea and feeling behind the song if I continue to alter and adjust after getting the main idea down. I am striving for a better sound quality for the next release. I have not had my works mastered professionally before (on my previous releases) so I would like to try and take it to the next level with sound quality. I would like the opportunity to compose with an orchestra and further my composing skills by working with other musicians; building more intense and full-bodied productions. This is something I am aiming towards for next year. I produce using only my midi keyboard, laptop and headphones whilst on the move but have produced the majority of my work like this. I had a home studio whilst living in the U.K. but sold nearly all my equipment when I decided to leave to travel again last year. I produce using Fruity Loops Studio as it is what I grew to learn and use from the revamp of my producing career in around 2012.

 

Which artists and musicians were important to you growing up and prominent with regards your upbringing?

My family had great taste in music and listened to their own individual taste. I grew up listening to Classical music, Rock & Roll; early Trip-Hop/Electronic music; Swing and Jazz. We grew up in the 1990s and I lived with my two slightly older sisters so this meant Backstreet Boys and Boyzone were being blasted from the walls over yonder - but they did have some good taste! I was influenced by a lot of different artists and genres of music growing up but it was not only the artists and musicians that inspired me but T.V. adverts; film scores, radio adverts and jingles caught my interest. I grew up listening to, and still listen to, many of the following artists (this will include some modern artists I listen to now as well!)

Jefferson Airplane, James Brown; Frank Sinatra, The Ink Spots; Edvard Grieg, Enya; Massive Attack, Enigma; Elvis Presley, Limp Bizkit; The Rolling Stones, Huns + Dr Beeker; Wu Tang Clan, Percy Sledge; Ike and Tina Turner; Whitesnake, Big Pun; Linkin Park, Ray Charles; Cab Calloway, Benny Goodman; Sheep Dog and Wolf, Halse; Jimi Hendrix, Nat King Cole; Joe Cocker, David Arnold; Mozart, Ferenc; Chopin, Brahms; Bach, Beethoven; Handel, Clint Mansell; Akira Yamaoka, Jeremy Soule; Hans Zimmer, Cypress Hill; Leftfield, Jim Johnston; Ohio Players, Cherry Poppin Daddies; Aphex Twin, Dizzie Rascal; Lana Del Rey; Etta James, Rage Against the Machine; Outkast, Roots Manuva; Sworn Enemy, Jurrasic 5; Andre Rieu, Del The Funky Homosapien; Peggy Lee, David Bowie; Slipknot, The Who; Underworld, Diplo; Skrillex, Knife Party; Daft Punk, Chemical Brothers; Beastie Boys, Dr. Dre…

Method Man, Redman; Depeche Mode, Pantera; Metallica, Guns N’ Roses, Queen; Union Underground, Orbital; Bjork, Kate Bush; Kings of Leon, Stereophonics; Motorhead; Royce Da 59, Necro; Nas, The Verve; Carl Orff, Leon McAuliff; Primal Scream, The Jezabels; Faithless, Action Bronson; Aerosmith, Iron Maiden; Tenacious D, TroyBoi; Fatboy Slim; Destiny’s Child; En Vogue; Timberland; Gorillaz; Biggie Smalls, Tupac; The Beatles, Son Lux; Johnny Cash, Mos Def; N.W.A.; A Tribe Called Quest, Danger Doom; The Prodigy, ASAP Rocky; Jedi Mind Tricks, Damian Marley; Run-D.M.C., Wiley; BT, Ivan Torrent; The Raveonettes, Busta Rhymes; Mobb Deep, Snoop Dogg; Woody Herman, Hashfinger; Pendulum, Portishead; Radiohead, Utah Saints; Compton’s Most Wanted; Torae, Moby; Freestylers, Blur, Rakim; J. Doe, Bob Marley; KRS One, Desert Eagle Discs; (hed) PE, Arto Guthrie; Phaeleh, Michael Jackson; Yonderboi, C2C; NERD, System of  a Down; Cannibal Ox, Bobby Franklins Insanity; Richie Havens, Canned Heat; Unicorn Kid, Basement Jaxx; The Fugees, Sway; Nirvana, The Righteous Brothers; Missy Elliott, Evael; Chuck Berry, The Communards; Hurts, Rob Zombie; Van Morrison, The Yardbirds; The Mamas & the Papas; Rob D., Sam Baker; AWOLNATION, Osanha; Apollyon Sun, Pilot; Guns of Navarone, Foreign Beggars; Nina Simone, Colin Towns; Gramatik, Foo Fighters; Garnet Mimms, The Specials; Bee Gees, Toots and the Maytals; Kay Kyser, Tyler the Creator; Ahmad, Ben E. King; Marlena Ernman, Rudimental; John Lee Hooker, Aqualung; Scissor Sisters, The Luniz; Das EFX, Craig Grey;  Kasabian, Feist; Lung, Alanis Morissette and Al'Tarba.

I could go on for some time here: to be honest, this is the first time I have tried to get a mixture of what I listen to in one list - hence why I have always tried to avoid the question of influences and what kind of music I listen to/grew up with.

What more does 2016 for Night Wolf? Touring or any big plans ahead? Aside from touring and promotional duties: what does the rest of 2016 hold for you?

I have a couple of confirmed projects for a betting commercial and a film trailer completed.

I am just waiting to be sent the links to the completed project: hopefully, there will be more and more opportunities like this. I will just be working on making new material; working on a better sound quality for future releases and contacting new artists who have shown interest. Not too much on the release side this year. I am releasing Learning Pace of Travel and then will start to build for the next E.P. for next year and maybe a single release here or there. I will continue to complete projects and have them stocked at The Music Jar. I am actually seeking management and a record label to work with for future projects. I finished my contract with my previous label and would like to work with someone who is interested in promoting the music in the right way for commercial releases.

I will continue to add and complete The Song of Travel and continue to create music which I will release for streaming on SoundCloud and other various free streaming sites. I am now back in Budapest and am working on unfinished projects. I may be going to China for a year to teach, if so, I will use this time to gain influence from Asian instruments and music. The journey will continue either way. There is a lot to see in this world and I don't like the thought of staying still too long allowing things to become stale. The rest of this year is set for promotion to a new audience and to further my name across the power of the Internet, radio and synch. libraries. I would like more feedback from people on my music so this is an area I will be working on - getting it in front of the ears and eyes that could further enhance it or promote it.

<iframe width="560" height="315" src="https://www.youtube.com/embed/lo2ha1UlJM8" frameborder="0" allowfullscreen></iframe

I am just taking each day at a time and not rushing projects: taking my time to better research and develop my craft and sound for future releases. More traveling, more new experiences and friends around the world. It is unknown to us all how much time you have left on this planet and with the way tension is building between the West and the East - who knows how much longer our world will hold the illusion of sanity. I will complete Hungary Song of Travel soon and then there is plenty to catch up with on the blog! Promote, promote, promote!

If you had to select only three albums from music to take to a desert island (becoming a staple question for me) which would they be?

This is a very hard question and I am sure I would change this many times over - with more time to think about this question - giving it the proper attention it would deserve in such a crisis!

Leftfield: Rhythm and Stealth

Massive Attack: Mezzanine

Cypress Hill: Temples of Boom

Last, but certainly not least - and not technically an album - but I hope you forgive this for being included:

Fallout 3/New Vegas /Fallout 4 soundtracks and other gaming soundtracks such as the Silent Hill franchise (produced by Akira Yamaoka and Skyrims; soundtrack produced by Jeremy Soule) - and a host of film soundtracks would also be included from David Arnold to Clint Mansell and Hans Zimmer.

I would also have to include my own compilation album to sneak with me, packed with a broad range of styles and genres ;) But I guess this is cheating and not really three, so I avoided answering this question properly! Sorry.

[soundcloud url="https://api.soundcloud.com/tracks/250078977" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

I am always impressed by your collaborations and the artists you join together with. Might be a hard question but is there a singer you have worked with you just know will go on to huge things?

I have watched Charles X grow in popularity over the past couple of years. He has warmed up for Method Man and Redman and has just been successful raising nearly 10,000 Euro to promote his upcoming album - which will also feature Take a Hit on release. I see him doing bigger and better things for sure:  he is 100/% committed. AMRA is also a very talented songwriter and I can see our music relationship only strengthening and the music becoming more in depth. I would like to start to put together a live show for next year; bringing all those that I have worked alongside with me - hence why I would like and am seeking management to be able to get the right crowds and the right promotion for our music. I think everyone I have worked with will get to where they want to be if they keep on working on their art and craft it to what they see themselves a - minus the exception of working with Mark Morrison and Devlin, of course, in this question as they have already maybe reached their peak in their music careers.

Have you any advice for any new bands coming through - those looking to follow in your footsteps?

Just be original and yourself; promote like crazy; create a fan-base utilising social media and online platforms.

Contact radio stations and consider stock libraries where potential clients can search for a specific genre for their own projects. Create an E.P.K. and update it for promotional use and base. I would also suggest getting in touch with this blog and asking for a review as it is by far the best review I have ever had from a reviewer!

Keep on grinding and crafting!

Finally, and for being a good sport, you can select any song (other than your own) and I’ll play it here…

Son Lux: Lost It to Trying (Mouths Only Lying):

[youtube https://www.youtube.com/watch?v=uJzxPxGo-54&w=560&h=315]

________________________

Follow Night Wolf/Songs of Travel

 

Official:

http://nightwolfuk.wixsite.com/nightwolf

Songs of Travel:

https://songoftravelblog.wordpress.com/

Facebook:

https://www.facebook.com/nightwolfuk/?fref=ts

Twitter:

https://twitter.com/SongOfTravel

Instagram:

https://www.instagram.com/songoftravelblog/

SoundCloud:

https://soundcloud.com/nightwolfuk

YouTube:

https://www.youtube.com/channel/UC049NduiQYhIW7tbHzsddzA

INTERVIEW: Jasmine Branca

INTERVIEW:

 

 

Jasmine Branca

____________________________

THE quest to discover the finest female singer-songwriters…

PHOTO CREDIT: Overbury Photography

around is a constant, if albeit specialised, pursuit of mine. I look for those who push against the mainstream’s worst traits: the artists who document late-night regrets, drunken revelry and relationship Mexican standoffs with very little wit, intelligence and originality. We need those acts that offer something rather disposal and flimsy – it may sound like a shot but they provide something instant, relatable and common. Musicians who seek inspiration in deeper realms and sources are those who should be applauded. I have been following Jasmine Branca’s work since her E.P. Into My Heart and, at the time of my review (of the E.P.), tipped her for big things. In the studio at the moment - the groundwork for new material is being laid – it is an opportune moment to catch up with Jasmine and see how her year has been; the plans she has in store and (she) goes deeper. Jasmine discusses mental illness – the importance of addressing it and how few reference it – and provides advice to up-and-coming artists; she looks back at Into My Heart and how a newly-acquired Gretsch guitar is not only a vital acquisition – it will add new dimensions and possibilities to her music.

HEADER PHOTO CREDIT: Overbury Photography

___________________________

Hey Jasmine. How has your week been? What have you been getting up to?

Hi Sam. My week has been pretty hectic (at A.C.M.) but good, thank you! I’ve been working hard with a new producer called Harrison Perks as well as preparing for upcoming exams at university.

For those who are new to your work: can you introduce yourself to us?

I am a very unique artist who wants to create a beautiful fantasyland where everyone can come together and forget the harshness of reality. My music is a mixture of Pop, Rock; Grunge and Country. I write honest and meaningful music and perform with great power and emotion.

Can you remember the first time you realised you wanted to be a musician? Was there an event or artist that sparked that passion in you?

The first time I really fell in love with music was when I was around five - taking regular dance classes.

I had a real passion for listening to and enjoying Classical music. It grew from there really as I listened to Popular music and felt a great desire to sing and make my own music for the rest of my life.

Fantasy figures and fairies seem to be a key influence in terms of style and stage design. What fostered this love of fairies and what is the reaction like when playing live (with these elements incorporated)?

Yay! I’m glad you noticed. I’ve loved fairies since I was very small. I’m not sure where it came from but my mum used to write little notes from the fairies and I really believed it was them. I’ve always loved this kind of style – anything sparkly, fairy-tale/princess-like always resonated with me and caught my eye. I think it’s so beautiful. I love the innocence and beauty within this theme and I hope one day, reality will become the same.

I try to promote the theme in my gigs - especially where there is a younger audience. I played the New Forest Fairy Festival for the second time this year and it was the most beautiful and magical experience I’ve ever had. I’ve also had reactions from adults in pub gig settings saying my performance took them to a “dream land” (which I loved). That kind of reaction is definitely what I am going for in terms of my music and image.

Looking back at your last E.P. (Into My Heart) and the reception it garnered: are you amazed by how many people connected with it and were touched by the music?

I find it surreal and so heartwarming that people connect with my music and enjoy it!

I write from the heart and absolutely adore what I do: so for people to share that love and enjoyment with me means everything. I hope my new music will create even more love and excitement with existing fans as well as new ones!

Your songs (on that E.P.) tackled stigma around mental health and laid your soul out – very personal and revealing at times. Do you think that honesty and openness is something missing in modern music? Was it quite challenging writing songs so emotional?

I never find it difficult writing honest, deep, and emotional lyrics because I am a very open person and I like to share what I go through. I like to share because I find it therapeutic getting my feelings out into the open and I like to let other sufferers know they are never alone. Writing my own songs and performing them is my therapy. I hope other people can relate and know that hard times can creatively manifest into something beautiful and successful.

I am definitely disappointed by some modern music – especially chart music. The lyrics are very meaningless: not well thought-out and mainly aimed at clubs. This is fine and it’s nice - that some people can get enjoyment from it. However, I feel that real music is meaningful and comes from the heart. Repeating the word ‘work’ doesn’t show someone pouring their heart and soul into the music they are creating - and that’s a shame.

Mental health and psychological illnesses are areas that are not addressed a lot in society, let alone music. What is your view on this and do you feel more needs to be done by the Government to tackle the problem?

It’s so sad and heartbreaking that so many people can’t even recognise that mental illnesses are a very real and serious thing. It pains me that there is hardly any recognition or help for sufferers.

I have waited nine months to get therapy for my borderline personally disorder - which I personally feel is disgusting. Someone suffering from an illness such as cancer would never be left untreated for that long. I wish there were more charities and activities to support mental illnesses such as sponsored runs and bake sales, etc. I hope to be an inspiring figure that will change this horrendous stigma against mental illnesses and actually start making positive movements – in order to help the enormous amount of sufferers around the world.

 [soundcloud url="https://api.soundcloud.com/tracks/224720557" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Which song from Into My Heart means the most to you and is most personal?

Definitely Never Belong. That is the song I completely poured my heart and soul into and I wrote it at one of my lowest points. I was feeling so much and I wanted to end my life. I shared all my feelings and thoughts with a friend and they kept telling me: “You have to put this into a song!” At first, I struggled to write my feelings in a way that truly expressed how I was feeling, but I did it.

Looking at social media, I see you have recently acquired a new Gretsch guitar – it looks pretty fine. What is it about the guitar – and that one especially – that attracted you and will we be hearing its dulcet tones in future recordings?

I originally had my heart set on the look of the beautiful G5191TMS Tim Armstrong Gretsch in salmon but when I tried it in-store I just didn’t like the sound! I had a look at a few others and my dad pointed out the sparkly one that I have now. I played it and fell in love: I knew that was the one I had to have. It’s always been my dream to own a Gretsch guitar so it’s really amazing to have one. I want my music to come across heavier and rockier (from now on) so my Gretsch is helping me do that.

PHOTO CREDIT: Overbury Photography

On that note: I understand new material is being written. What can you tell us about the songs and ideas that will go into your new E.P.?

There will definitely be new material as well as a few old tracks re-done in a style that is more me – seeing as my last E.P. was my first I didn’t quite capture all the genres and sounds I wanted to.

Now I have a new producer who really understands the sound, genre and atmosphere I want to create around my music - which I am really grateful for. I’m really excited about the new material and I don’t want to reveal too much just yet!

A bit of time has passed since your last E.P. Has your writing process changed or do you set yourself time to get songs on paper? How do songs come together for you?

My writing process is pretty much the same. I create my songs from experiences I’ve had with people and emotions I feel towards certain things. My ideas come in different forms: sometimes I will start by messing around on the guitar and coming up with a chord sequence I love - with lyrics and melody following soon after. Other times, I will get short melody and lyric ideas and try to find chords that fit around them.

 [youtube https://www.youtube.com/watch?v=r65JxPHaXek&w=560&h=315]

You attend A.C.M. (Surrey) but hail from Bournemouth. How do the crowds differ and which gigs have been particularly memorable from 2016?

A.C.M. is great and I am really thankful for the incredible tutors who teach me so much.

I am also thankful to be working around beautiful and talented people within the Academy who I learn a lot from. I’ve never really gigged much in Guildford/Surrey! I hope to branch out with my music when I’m not so busy with my studies.

In addition to new material and performances before 2017: have you got any plans or ambitions for the coming months?

My main goals are just to get the new material recorded and get it out there! I also have a few upcoming projects in mind such as an official website and possibly regular vlogs.

PHOTO CREDIT: Overbury Photography

We are both fans of the band Nothing but Thieves. Are they are a big influence for you and what is it about the band that speaks to you?

I absolutely adore their music! I have seen them live and also met them a few times. They are lovely, down-to-earth guys who really care about the music and work hard to produce something they feel is amazing. I just really love their music! I’d love to incorporate their Alternative-Rock sounds into my upcoming music. They are extremely talented and the music they put out is perfect in my opinion.

In terms of influences and idols: which musicians have been most important and inspiring with regards your career?

I’ve always loved such a huge variety of music and genres! There are so many bands and artists who have continuously influenced my music and image. The artists I look up to most are Katy Perry, Miranda Lambert; Brantley Gilbert, Lana Del Rey; Taylor Swift, Envy (a rapper from Manchester) and most influential bands would be Paramore, Coheed & Cambria; Limp Bizkit and Nothing but Thieves.

 [soundcloud url="https://api.soundcloud.com/tracks/224720391" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Are there any new musicians coming through – local or otherwise – you feel we should be checking out?

Brantley Gilbert is someone I discovered recently and I absolutely love his music! It’s a real mix of Country and Rock and it sounds so awesome. I also really love Sia – her mysterious image and her incredible, powerful vocals are really inspiring.

I’ve also been getting more into Rock and Metal recently and my friend showed me a female-fronted metal band called In this Moment. They are awesome.

Music is very demanding and time-consuming. Do you find the time to decompress and what do you do in your spare time?

Sometimes it is like you want a little break from it. I love baking - mainly sweet things like cakes and brownies. I find it quite therapeutic. I also love fancy dress and socialising with my friends. I’m really close with my parents so I like to chill out at home with them and sometimes go for walks to the beach - or somewhere in The New Forest. I also like shopping (what girl doesn’t!?)

PHOTO CREDIT: Overbury Photography

Reports and articles have come out (in the music press) that look at the gender imbalance in music – not many women in top music jobs and getting fair respect. Do you think there is truth in the argument that women are often overlooked? Have you encountered any obstacles and discrimination as a woman in music?

I’ve actually had music business lectures about this very subject recently. What I think is terrible it is how much more sexualised women are than men!

Women are made to stand there and look pretty: they have so much more to give than that and we should respect and promote that more.

I’d love to hear women writing songs about important subjects and some of the terrible things happening in the world right now - rather than just writing about men or going out to a club on the weekend.

For those young bands looking to follow you into music: what advice and tips would you offer them?

Be yourself! One small idea you have could differentiate you from so many others and make you the successful ones. Love what you do and promote what you love. Work hard and never give up; also try not to compare yourself to anyone else.

You are you for a reason and you bring something great to this world and the music industry!

Keep at it and maybe I’ll see you on the red carpet one day.

Finally, and for being a good sport, you can select any song (other than your own as I’ll include one) and I’ll play it here…

[youtube https://www.youtube.com/watch?v=m7r1IctCR_A&w=560&h=315]

_______________________

Follow Jasmine Branca

 

PHOTO CREDIT: Overbury Photography

Facebook:

https://www.facebook.com/JasmineBrancaMusicUK/

Twitter:

https://twitter.com/jasminebrancauk

SoundCloud:

https://soundcloud.com/jasmine-branca

YouTube:

https://www.youtube.com/user/JasmineBranca 

TRACK REVIEW: Bull Funk Zoo - Hangover

TRACK REVIEW:

 

Bull Funk Zoo

 

 

Hangover

9.2/10

Hangover is available at:

https://www.youtube.com/watch?v=Isi64V-XYPQ

RELEASED: 9^th October, 2016

GENRES: Rock; Indie

ORIGIN:

Dubai, U.E.A.

The album, Dangerous Radio, is available here:

https://bullfunkzoo.bandcamp.com/album/dangerous-radio

HEADER PHOTO CREDIT:

Sasha Maddah

____________________________________

ONE of the most important things about modern music...

PHOTO CREDIT: Sasha Maddah

is the diversity and variation that can be found. I know this is a point I raise a lot to the point of exhaustion – it seems like a lot of musicians are not really paying much attention. Before I come to look at my featured act, I wanted to touch on that point; discover musicians coming out of Dubai/U.A.E. and the excitement one gets when genres like Funk and Rock are given modern twists and spliced together. I am finding musicians that are more than happy coming into the scene ambling along on what they feel comfortable with. There is a lot of room and space for maneuver and I am always galled by artists that do not exploit this. It may seem like an odd point to raise but one I feel compelled to. It is understandable new musicians have reticence and nerves about what they do. It is such a crowded industry and completive: making your voice heard and gaining some recognition is challenging and often takes months/years. Because of this, too many new artists are being safe and playing music they think record labels want to hear. It might be chart replicas or something very mainstream: whatever the music; there is a general temptation towards something rather tepid and neutered. I am sorting edging towards the general question: why can’t musicians put a bit more grunt and excitement into their work? I do love a musician that is contemplative and soulful; those that are tender and introspective. They all have their places but one yearns for, every now and then, music that sticks its hand down the front of your shorts and has a bit of a rummage.

PHOTO CREDIT: Sasha Maddah

I do not mean Hardcore/Thrash or something explosive and demented – just music that has some flair and captivation. Maybe I am being a bit harsh it just seems like, if you want to earn your place in music, you have to separate yourself from the masses and originate something unique. There are few that would argue against Bull Funk Zoo being anything other than stonewall originals – the man behind the music – and that is why I have jumped on this review. Before I go into more detail, let me introduce my featured artist:

“The birth of Bull Funk Zoo made a strong impact in the Dubai music scene, playing non-stop shows all over the country and internationally. In March 2013 Bull Funk Zoo opened for Sting with all his original material played in front of an audience of 10,000 people and the response was incredible!!! Bull Funk Zoo played almost every venue in the region ofUAE and toured internationally. Concerts with audiences from 5,000 to 30,000 people. The debut self titled album got the highest rating for unsigned band in Rolling Stone, also the album got entered into the IMA Awards USA, he has been on numerous publications, radio shows & TV features. The album can also be found worldwide online through iTunes and many other sites. It was also a best seller in Virgin Megastores in the UAE. The album is also featured on all Emirates Airlines entertainment with an exclusive interview that will be heard by over 50 million passengers a year. He is currently touring the region with numerous gigs on hand, he is considered one of the hardest working musicians/producer in the UAE, with best act nomination for Time Out awards. He also has major support from Red Bull.

 

Bull Funk Zoo developed his talent for music in the US where he lived and studied for a number of years. During his time there, he played with practically every conceivable kind of musician and band. He continued his music journey in 2000 when he moved back to Dubai and was involved in projects like Abstrakt Collision (3 albums recorded), Stroobiya, Abstrakt Roots and performing as a session guitarist with various acts throughout region. Things started to get exciting again when he formed Bull Funk Zoo band in 2011. The first showcase of the band was in collaboration with Hamdan Al-Abri. To open for Sade at Abu Dhabi’s Yas Island, Bull Funk Zoo played Hamdan Al Abri’s music. The response was overwhelming! Sade personally said Hamdan Al-Abri featuring Bull Funk Zoo were amazing and they were the best opening act she had had during her 2011 world tour! He produced a music video with Adnan Mryhij (CTG productions) & Hadi Sarieddine for one of his tracks "Shit House Blues" from the self titled album, which was released in February 2015”.

 

Although Bull Funk Zoo is a fully-fledged band: there is a lot of emphasis on Assaad Lakkis. He works with a range of musicians but he is the brains and man behind the songs. After releasing Would You and Burnin’: Bull Funk Zoo is ready to take the Rock industry hostage and lay down its/his demands. There is a bit of Jimi Hendrix, Rage Against the Machine and Frank Zappa in Lakkis’ creations and a blend of older sounds and new technology. I shall come to his home nation and why we should be looking there, but just looking at that biography, and you have an artist who is very strange – in the sense he is so far ahead of his peers. Lakkis has been in music for a couple of decades now and has been growing as an artist and performer. You have a young man that is one of the hardest-working people in the industry and always looking to push himself. As he says it himself: creativity is his drug and one he is not willing to give up. I find there are a lot of musicians that become fatigued and jaded by the working hours and demands of the industry. Such dedicated and fastidious commitment to the art can cause relationships to split and cracks to form – some very strong acts have called it time because of the stress. I am impressed Bull Funk Zoo continues to grow and develop. The band has played to upwards of 30,000 people and it is that love and support that keeps the focus very much in their direction. I was also interested in focusing Bull Funk Zoo because they are based out of Dubai. This is a nation that is not really synonymous with bands and great new acts.  I raised this point – looking at foreign nations for new talent – when reviewing Yotam Mahler yesterday. The Israeli musician is based in a nation that is overflowing with fantastic acts and brilliant young talent. When it comes to Dubai: there are fewer musicians and artists one can bring it. If you extend the point to the U.A.E. and there is a bit more on offer. Hamdan Al Abri and Empty Yard Experiment are two artists that have been making waves in the U.A.E. for a while now. Ahlam is another singer that has been playing for many years, but the truth is, one has to dig hard to find many contemporary acts out of the country.

Maybe there is a problem with the international press or laws in Dubai/U.A.E. They are areas that are very stringent when it comes to rules/decency and sexualisation. The U.K. and U.S. have their fair share of flesh-showing artists that seems to tick the commercial and public boxes – artists that can generate a lot of attention and money; get into the charts and gain a lot of radio play. Dubai is a lot more stringent and ‘pure’ one could argue. For that reasons, I guess there are limitations not only with how much one can reveal – the subjects and areas that are being addressed. Religion is a big part so certain subjects and topics will be off limits and banned. You hear of cases when U.A.E. nationals are subjected to imprisonment and punishment for blasphemy, sexual indecencies – what the country would deem as such – and various other crimes. You wonder how many chances there are for new musicians there and whether Western artists are being played and promoted. Bull Funk Zoo exist because they avoid dangerous areas and have captured the public’s hearts. It is an interesting point and one I shall explore more in the conclusion. It is impressive to see Lakkis’ outfit going from strength-to-strength. Bringing in collaborators and various other musicians into the fold – each album and creation has a different sound and new light. The reason behind this survival and popularity is the invention and talent of Lakkis and the artists that have inspired him. I mooted whether British and American music made their way to Dubai, and there are a few that have. The fact Lakkis spent a lot of time in the U.S. is why he has an affinity for musicians like Jimi Hendrix, Rage Against the Machine and Red Hot Chili Peppers. That blend of Funk, Metal and Rock struck his ear and compelled him to push his own music and make it as wide-ranging as it can be. With Bull Funk Zoo you get little touches of Rage Against the Machine, especially. The guitar sounds and pioneering string work is to be commended. You get dashes of other genres and so many different ideas in the music. The musicians that are surviving and impressing are those that put their all into it and push the boundaries of what is possible. Many artists try and throw multiple genres into their work but can come off muddled and confused. Bull Funk Zoo has that cohesion, authority and commitment that ensures the songs are gelled and perfectly-formed.

The biggest difference one notices between the eponymous debut and Dangerous Radio is the confidence and control exerted by its frontman. Lakkis co-wrote all of the ten songs on the debut album and showed immense promise and exceptional musicianship. The songs (on that album) show the influence of bands like Sex Pistols and Soundgarden but have ample funkiness and drive to them. Never one-dimensional or boring: fireworks, scintillation and drama reigned in the music and captivated critics and reviewers around the world. The production was exceptional (on the debut) and so much confidence and variation was in there. Funky, Hendrix-esque strings could be found on tracks like Junk. Lyrics can often be a downfall for many acts but Bull Funk Zoo mix personal insights with witty asides and social commentary. The entire album is tight and stunning and one you come back to again and again. Dangerous Radio is perhaps tighter and more focused than the debut. The number of tracks has been narrowed to eight and it is a shorter album all round. This does not merit a lack of creativity and inspiration: it trims away any edges and fat and is a more explosive and concentrated effort. The funkiness and looseness are still there but there is more attack and intensity throughout the record. In terms of lyrics, the songs address anger, regret and drunken haze. Because of this, there is more wit and humour to be found; more nods to Hendrix and Psychedelic elements than the debut. Lakkis exerts more influence on the songs and more of his mind and talent goes into them. There are still other bodies in the mix but Dangerous Radio is almost like a solo album in terms of the themes and concepts. What one notices – the differences between the two – is how much more confident and arresting the music is. Dangerous Radio is an octet of tracks that will get into the heart and release memories and impressions long after you have finished listening.

I was going to review Whiskey but decided, given its video has just come out, to go for Hangover. Instead of the alcohol -cause I have gone with the effect: embracing the ‘after’ rather than the ‘before’. It might seem like, from that comparison, Dangerous Radio is full of booze and drunken numbers. Those two tracks are an exception in a record that has plenty of diversity and range. Hangover is the closing track and one that has been noted by many fans and reviewers – a favourite and perfect swansong. The opening to the song has commentary and narrative from Lakkis as he recalls a hazy night and wakes up next to a girl. The video shows a tattooed man arises and feels the effects of last night. The blonde next to him is face-down and a bit of a stranger. Trying to piece together the strands of last night: there is that urgency and need to figure it out before she regains consciousness. Lakkis’ delivery is laconic and weary; scratched vocals and whiskey-soaked notes resonate and resound in their confusion and fatigue. The hero is wondering who the girl is and his head is pounding. Unable to remember what happened and how he got to this stage – a theme and story that many artists have portrayed; many people can relate to this conundrum. Fear and loathing is in the mind and there is that regret and sense of self-disgust. Perhaps it was a great night but alcohol has rendered his mind cloudy and short-term. The bass is funky and taut. It acts like a headache and poke in the chest: bouncing and pressing; throbbing and searching. Not only do you get an intriguing kick-off, but the sense of impending explosion and breakdown. There is something definitely eccentric and bizarre about the song – in the very best way. You get little notes of Tom Waits’ quirk and humour and the video continues to reveal pieces of the puzzle. The composition throws in warped and strident electronics and teasing, compact beats – going into Trip-Hop/Hip-Hop territory. By keeping the music light but propulsive, it ensures you focus on the lyrics and vocals and letting them work. The hero is “two hours late for work” and his ‘date’ is puking all over the place. The house is a scene of carnage and it seems like something epic unfolded the night before. It is not a hard song to dissect and one that has quite a simple and obvious origin and explanation. Despite our man smelling of beer and tasting of God-knows-what; he still yearns for a Stella Artois and hair of the dog, it seems.

PHOTO CREDIT: Sasha Maddah

Perhaps functionality and cohesion are out of the question and he is resigned to spending the day cleaning things up. After a wordless, monosyllabic chorus line – a number of voices joining with la-la-las – it is into work and the repercussions from the boss. Having missed over a dozen calls from his workplace; the hero goes into the office and faces his “jerk” of a boss – one who is not letting him off the hook easily. The song never really breaks into all-out singing: it is more a collection of spoken lines and storytelling. Perhaps a sore head or tiredness means vocalisation and volume are not really a reality. As things progress, you get more indebted to the composition and all the notes and ideas being exchanged. Delivering (almost Rap-like) his words: the hero is in the workplace and trying to feign attention. The boss is chewing him out and all the hero wants to do is sleep and crawl back into bed. You get that sense of weariness and dizziness in a track that throws that la-la repetition to highlight the lack of interest and attention being paid. The drone-like delivery of the ‘chorus’ – the one-worded mantra – gains new meaning and relevance after each verse. The hero is being advised to have a drink and learn some lessons – try reading between the lines – and taking heart. Throughout Hangover, there is that need to keep on partying and just embrace something more fun and irresponsible – rather than the boring work life and rules. In a way, in terms of lyrics and ideas, there is a definite Punk spirit and rebellion. Never as full-throttle and ballistic as Sex Pistols and Ramones – you feel a bit of their spirit in the attitude and anti-authoritarian zeal of the song. Lakkis spits his words in a Hip-Hop/Funk style and seems not to care for rules and discipline. It is nice to see that sort of youthful spirit and rebellion in music and something you do not hear enough of. The remainder of Hangover is a series of la-la-las that enforces that lack of caring and need to sing and keep on partying. Heavy and funky beats get the feet moving whilst the vocal delivery pushes that coda into the brain like a shot of whiskey – it will buzz around the mind for a long time and create smiles (or annoyance in some). By the end, you root for the hero and hope that he keeps on living that alcohol-filled life – perhaps not the best course but one he is destined to take.

Dangerous Radio is a bold and brash second album from an act that continues to impress and gain adulation. It is hard to say just how far they can go, but with a huge army behind them, it looks like the future is very secure and golden. There is a great many stations and venues across Europe and the U.S. that could support Lakkis and his musicians but it seems like Dubai and the U.A.E. are providing ample support. I opened by proffering the point about the U.A.E. and how much freedom there are for musicians growing up there. One wonders whether Lakkis could have gained experience and got exposure if he did not send time in the U.S. I am sure Dubai is fairly relaxed with regards themes and lyrics – what can be considered offensive – but you feel there are limitations and drawbacks for some musicians. Female artists that have that more provocative edge are unlikely to gain much headway and respect. It is a thorny issue but not one explored much. I have been searching for bands and artists emerging from Dubai but it is pretty slim pickings. Maybe that is just the limitations of the media: it is impossible to represent every country and some will fall through the gaps. Perhaps Dubai does have a lot of local bands but you get the feeling Bull Funk Zoo are in the minority. I shall leave that point for now, only to recommend everyone check out Dangerous Radio. I am a little late to the party – it has been out a while but I’ve been busy with other work – but glad I turned up. I decided to focus on Whisky because it is the newest single release and shows the depth of creative talent in Dubai. Not only is the song one of the finest on the album but one that seems to represent the themes and ideas of the album. I mentioned how sex and modesty are issues in many nations of the U.A.E. but there is enough room and leverage to not only present risqué lyrics but film some rather racy scenes. The video to Hangover was conceived and directed by Lakkis but burrows actors and creative talent from around the nations. Some of them have arrived from Europe whilst others are native. Not only is the video humour and memorable: it has all the hallmarks and ideas you’d get from a British or American band. In that sense, there is little difference between Bull Funk Zoo and his/their Western counterparts. I have put a lot of emphasis on morals and laws in Dubai but it is just things one hears – a theory as to why there is not the same Pop market there is here.

Dispensing with my grand theories and attempts at social dissection and you cannot ignore the talent and continued rise of Assaad Lakkis. It is not often I get to review an Asian artist – aside from yesterday, of course – so it is good to be back in the continent. Dubai is a rich and prosperous nation that is a tempting haven and home for many people. The clement temperatures, prosperity and wonderful scenery are only a few reason why many are emigrating here and setting up home. I feel Lakkis is rooted here and vibing from the community of artists and the crowds that adore his music. He has commanded huge audiences and that will continue unabated following the release of Dangerous Radio. Its cover art very much has that feeling of Rage Against the Machine and you get the anger and edginess of the U.S. band but Lakkis digs deeper. The songs have humour and wit; they speed by and are so full of colour, adventure and mesmeric sounds. As a performer and producer, there are few out there like him. There is a parable floating around which best describes Dangerous Radio. If you imagine Hendrix having a drink with Tom Waits – via a séance of sense of imagination – and shooting the breeze. Hendrix has his guitar sitting by the snooker table – maybe on fire or smashed into a million pieces – and is sipping on a rather psychedelic cocktail – lots of colours and ingredients in there. Waits, one imagines, prefers stiffer bourbon and the gravel-voiced legend would probably be wearing a hat and is pensive mood. As the two icons exchange stories and boasts, the jukebox goes out. In rocks Tom Morello and his Rage Against the Machine brothers and the patrons all look stunned. Expecting an imminent showdown, the three different acts all come together in a Mexican standoff. Instead of engaging in violence, they are grab their instruments and combine in an across-the-genres-and-ages performance of the highest order. That is what you get with Bull Funk Zoo and the music throughout Dangerous Radio. There are a lot of other artists in the mix but the overruling sound of Lakkis tearing it up and doing his own thing.

It will be interesting seeing where Bull Funk Zoo goes from here and what the future holds. I would expect more tour dates and records to follow. There are not many acts/bands that command such huge audiences so early in a career. That can only be down to a set of songs that gets into the mind and releases seriously heady hits. I have listened to Dangerous Radio and there is a consistency and brilliance that runs right through it. The pace never drops and that sense of adventure, drama and innovation never relents. Although it has been out for a little while, there are still many keen to lend their ears to the album and pay tribute to its central star. Lakkis was raised on a collection of great artists and music was always playing in the family household. The Dubai-born musician grew up listening to the likes of James Brown and Kiss and was drawn to the theatrics and flair of these musicians. Bands like Soundgarden and Sex Pistols soon came to his attention: mixing rawness and rebellion into the flair and stage presence. A man who always craves new music and experiences: this hungry and restlessness is what you hear in an album filled with fantastic songs. I would like to think Bull Funk Zoo will come play the U.K. as there are plenty of chances and crowds that would pay good money to come out. Even with venues closing in London, there are enough remaining that could support the band and welcome them in. It seems like many nations would support Bull Funk Zoo and will be exciting seeing just how the future pans out. Dangerous Radio is a step up for the Dubai band/act and shows how restless and evolving Lakkis is. One of the most accomplished musicians around right now: the next few years should be very busy and memorable. I have enjoyed diving into the album and would recommend people check it out and spend a bit of money on it. Hangover, and is its striking video, has already gained a lot of feedback and shows what love there is out there for Bull Funk Zoo. In a sea of rather vague and generic Rock bands, I am thankful a kick in the crotch has arrived in the form of the Dubai outfit. We need to see more like them in music in order to inspire new generations and musicians. Be certain to investigate Bull Funk Zoo and let the sensational, multifarious music seep into the mind and elicit all manner of reactions and sensations. They may be treasured and revered in the U.A.E. but, as the new album proves, they are in demand…

PHOTO CREDIT: Life is Pixels

ALL around the world.

[youtube https://www.youtube.com/watch?v=Isi64V-XYPQ&w=560&h=315]

_______________________________

Follow Bull Funk Zoo

 

Official:

http://www.bullfunkzoo.com/

Facebook:

https://www.facebook.com/bullfunkzoo

Twitter:

https://twitter.com/bullfunkzoo

Instagram:

https://www.instagram.com/bullfunkzoo/

SoundCloud:

https://soundcloud.com/bullfunkzoo

YouTube:

https://www.youtube.com/user/BullFunkZoo

FEATURE: Billie Marten: Lionhearted

FEATURE:

 

Billie Marten:

 

 Lionhearted

_________________________

 YESTERDAY, I was lucky enough to be in the...

right place at the right time, as it were. I was tuned into BBC6 Music - during Sean Keaveny’s show – experiencing a live version of Kate Bush’s track, King of the Mountain. It was played to commemorate and celebrate the upcoming three-disc live album, Before the Dawn. If you were lucky enough to catch Bush perform during her 2014 shows at London’s Hammersmith Apollo you would have witnessed it for the first time. The sound and scope of the song is mind-blowing. Cinematic and dramatic in conception: funky-ass guitars with electricity bubbling; bellicose, tribal drums and an overall air of mountain air, mysticism and unholy drama. Scoring and guiding the tale of high-summit royalty was Kate Bush – sounding like she did in 1979. It is startling, not only hearing a performance of such magnitude, command and resonance but the fact Bush has not aged in the past thirty-seven years. I listened to that song and – after hearing it a couple of times during Mary Ann Hobbs’ afternoon show – was left speechless and blown away. There is something completely entrancing about Kate Bush; no matter how many times you hear her sing. Those live shows will be brought to disc next month and distill the finest moments of her London shows. It is debatable how many more gigs Bush has in her but one thing is for sure: make sure you buy Before the Dawn when it is released on 25^th November.

[youtube https://www.youtube.com/watch?v=smX6xCPDbrE&w=560&h=315]

It was whilst listening to the radio yesterday – coincidentally, 6Music again – I was not only treated to a rarified performance and breathtaking moment but a modern-day connection of two like-minded artists. Billie Marten is someone I have interviewed and reviewed - coinciding with the release of her debut album, Writing of Blues and Yellows. The reason for this comparison – and this piece as a whole – is how unerringly similar the two singers are. Kent-born, Devon-based Kate Bush first came to prominence with the release of her debut album, The Kick Inside. That album featured the groundbreaking, career-defining (to many, at least) Wuthering Heights. Such a voice has never really excited: not one with such eccentricity, fairy-like agility and beguiling majesty. In retrospect, The Kick Inside might not make many people’s list of top-three Kate Bush albums – one suspects Lionheart and The Dreaming would edge it for a spot. Many would contest Hounds of Love is the incontestable granddaddy of Bush genius: a two-part, sweeping epic that, once heard, is never forgotten. When people heard Kate Bush in 1979, they were not quite sure what to make of her. One saw a phenomenally beautiful and striking young woman but one whose head was intelligent, mature and down-to-earth. A young star that knew her talents but came across in interviews as relatable, charming and sweet – small wonder she would be taken into the critical bosom. I get that same impression when listening to Billie Marten.

Circling back to my 6Music anecdote: Marten was performing on Lauren Laverne’s show from a library in Rochdale – as part of a campaign to get people into libraries and celebrating literature. It was a short and sweet interview but one that showed how down-to-earth and warm Marten is as a conversationalist. Her performance – of album track Emily – was typically transcendent and hushed (more on that side of things later). It is not often you are hooked into someone by mere conversation: hanging on their words and completely engrossed. It was not necessarily the tone of voice – although it is soothing and expressive – but what was being said. Marten, is, a seventeen-year-old musician that SHOULD, one thinks, fall into the traps and clichés of her similar-aged peers. Having come away from that interview, it was clear as crystal: Billie Marten is someone who differs from her contemporaries and belongs to another time.

PHOTO CREDIT: Victor De Jesus

She reminds me of Kate Bush, who, when The Kick Inside was released, would be the darling of the interview circuits. Interviewers would try to crack down to her soul and figure what makes her tick; why she was so fascinated and obsessed with dance and how she remained grounded and modest. Of course, back in 1979, social morals and interview topics differ from one expects in 2016 – laced with a bit more controversy, relationship angles and less on an artist’s background and personality. In a disposal, sell-your-product-and-get-to-the-point-quick society: Marten is someone who seems to float above it all and has that Bush-esque air of humbleness and confidence. The main reason I wanted to compare the two artists – and highlight Marten as a very rare and special artist – is because of the arresting music and absolute ageless wisdom both possess.

[youtube https://www.youtube.com/watch?v=ZsaPm4RyExw&w=560&h=315]

I look at Kate Bush belt out her classics (from two years ago) and how in love she is with music still – someone who is as eager and determined as when she first arrived. Marten is embarking on her first steps but I see similarities between Bush’s 1979 debut The Kick Inside and Billie Marten’s 2016 offering, Writing of Blues and Yellows. Bush, on her debut, had that standout song (Wuthering Heights) but ran through genres, ideas and moves – that enticing, spectacular voice making everything sound completely essential and magical. Marten may not be as wide-ranging in terms of genres on her debut but you cannot deny the similarities. One is buckled by her velvet-smooth; kitten-sooth sensuality and the raw power that comes from someone who could make anything sound life-affirming in its beautiful. Hearing The Kick Inside and I am always brought to the point of shivers by the pin-sharp delivery and wonderful sweetness of the voice.

The Man with the Child in His Eyes is, perhaps, the finest example of the young talent daunted by the music industry. Written when she was just thirteen: Bush went into the studio – backed by an orchestra – and was nervous and felt very odd in that surrounding. Billie Marten records with guitar (and very few other elements) but you feel a prodigious young woman in her own world and in her comfort zone – someone who feels the anxieties and pressures that expectations and the music industry provides. I shall step away from the Bush-Marten comparisons – until the final segment – and want to embrace Marten on her own. Writing of Blues and Yellows is not the first offering from the Rippon-based teenager. She has been performing music for years – sending YouTube videos to her grandparents years ago; a way of connecting and demonstrating her talent – but has really hit her stride now. Over the past two years, Marten has released two E.P.s on two different labels (2014’s Ribbon on Split Milk Records and last year’s As Long As through Chess Club Records) but showed a keen and brilliant talent and remarkable voice.

The thing that really strikes me about Marten’s music is the lyrical intelligence and that singular voice. Given the fact she is seventeen; one would imagine songs of broken relationships, jerk-ass guys and plenty of anxiety. It may sound like a generalisation and all-sweeping statement – applied to the boys too, you understand – but there is some truth in that. I love young stars like Dua Lipa but feel there is too much emphasis – even from her own mind or record executives – to go straight to the crotch. Overtly sexual, primal and ‘grown-up’; it makes you wonder whether musicians are being forced to become women/men too soon – or are too open and explicit with their music. There are a lot of artists like Lipa – who I genuinely feel has a great future – perhaps inspired by the chart acts of the U.S. – Rhianna perhaps the most fervent inspiration. I am not pointing fingers or moralising – a little, maybe – but feel a more sanitised, wise approach to song-writing is needed. Not only do many of these young stars have an army of writers and producers behind them: their subject matter and lyrics book is full of clichés, sexual come-on and teenage tropes.

Billie Marten took her surname from the British Folk legend John Martyn – her real name is Isabella Tweddle – but that nine-year-old (whose grandparents lived in France and would get to witness a bright singer interpret other people’s songs) has blossomed into a bit of a national sweetheart. Before I get to her voice and songs; it is worth applauding and commending her words. Having heard her discussion with Lauren Laverne yesterday: literature and words are vital to Marten. She is someone, I would envisage, happy to ensconce herself in a quite nook and digest a chapter of classic literature and immerse herself in a novel for the afternoon. She seems like a human from another time – you could not see her glued to an iPhone or on Snapchat all night – but she is a very mature and smart young woman who brings this to her music. Like Bush in the ‘70s (last mention): Marten fuses literary references – Emily was inspired by Marten’s love of the second-most-famous Brontë sister; that connection with Bush once more – and you feel like you are involved in a story when you hear her sing.

[youtube https://www.youtube.com/watch?v=Cq-O35yGVNg&w=560&h=315]

Too many modern songwriters are either devoted to their own prurient, salacious desires or reflecting on inner-woes and engrossed in hyperbolic first-world moaning. Again, it is a generalisation, but there are few writers that break away from that parable and actually offer something vintage and modern at the same time. Marten is a woman who is still studying and school-age but brings her education and a quest for knowledge into her rich, nuanced songbooks. I will investigate her album tracks fully, but you just have to listen to a song like Emily or Lionhearted to know this is no ordinary musician. Addressing mental health struggles and the vicissitudes of the world: the desire for courage, resolve and sanctuary – the album’s title seems to reflect sadness (blue; depression and unhappiness) and courage (yellow; yellow-bellied). Billie Marten does not bring you down with deeply personal and open-souled professions; every line and song is ethereal and utterly sensual. Even when she is talking about walking away from home or looking into herself – the choice of words and turn of phrase is immaculate. Writers twice her age are barely capable of creating such novelistic, poetic sentiments – you just know she is only revealing half her true potential. Going hand-in-hand with her fine lyrics is a voice that is, many would proffer, her strongest asset.

[youtube https://www.youtube.com/watch?v=zy6e1D4yDEQ&w=560&h=315]

There are few things more bird-like an angelic than hearing a Billie Marten song. The moment that gets me is during Heavy Weather and its chorus. Maybe it is the melody or the subtle fingerpicking; the build-up or emotional catharsis of its author – my heart seems to skip a beat and the breath goes. Marten’s delivery and cadence is unbelievably gentle, soft and engrossing. It is like you are in a room with her by the microphone: she is singing the song directly at you with her lips pressed to the mic.; eyes closed and her hands clasped around the stand. I would imagine there was a sense of intimacy and blocking-away-the-world when that song was recorded but is remains (in my heart) her prime vocal turn. Milk & Honey, La Lune and Lionhearted are the three singles released this year – Heavy Weather was out last year. Lionhearted is a song that is grabbing most critics because of its vocal: one that blends fragility, sorrow and the desire for fortitude, answers and a psychic hug from the universe.

[youtube https://www.youtube.com/watch?v=_oD9hGnZqgw&w=560&h=315]

The reason I entitled this piece in honour of that song is to show just how lion-hearted and brave Marten is. In today’s music, there is such instancy and a conveyer-belt-style of promotion and production. Artists are revealed, revered and rescinded without a breath being taken – the fickleness of record bosses and the general public is quite bracing at times. Too many young musicians boast little variation, individual talent and anything that distinguishes them from the crowds. If Marten’s voice and music were not as insatiable as they are – would she survive in the modern industry? Marten is someone I adore in the sense she is humble and modest. She is happy to live at the family home and occasionally visit the city – she is not a fan of the bustle and throng of commuter bodies. I said Marten is someone who would love to curl with a good book and you get that throughout Writing of Blues and Yellows. Certain songs are so intense and passionate; you are practically inches from Marten’s tongue: there is that live-sounding quality and such an intimacy that radiates from each number. Writing of Blues and Yellows has been gaining a plethora of four and five-star reviews. Critics have been seduced and entranced by Billie Marten and the way she operates. She is a woman without ego or pretense and that all comes through in her music. Teeth deals with the realities and suffocation of anxiety; Milk & Honey is lullaby-like and transportive; Bird, perhaps the most nimble and gossamer song she has ever put her voice to. Compared with artists like Lucy Rose and Laura Marling: Marten is someone who you cannot compare to anyone vocally; her lyrics are very much her own and she is an artist with very few equals.

Before wrapping things up – and coming back to the Kate Bush parables – I would advise everyone spend some time getting to know Billie Marten and her music. Just hearing her in interviews – there are few out there but each is memorable – there is a shyness and reluctant but the words and outpouring or a very mature soul who wants her voice and words to be heard, understood and appreciated. She is not someone that will be engaged in Twitter wars with Azealia Banks or rolling out of a pub at 4am. That was one of the fears I had when hearing her album in full: where will Billie Marten be in several years to come? I am not saying she would have grown into a twenty-something hell-raiser that is courting tabloid inches and snapped with a string of famous boyfriends – what a gaudy and repulsive life that would be. I was just concerned record labels and the realities of modern-day music/life would take that home-based, shy quality and force Marten to become more outgoing and exposed – having her face on magazines and selling a bit of her soul. I hope that does not happen and I hope Marten is preserved just as she is for decades to come.

PHOTO CREDIT: Victor De Jesus

I am sure she has an honest and fulfilling relationship – or will do in years – and is not concerned with publicisng it and making it a point of conversation. Similarly, she does not wish to be embroiled in social media controversy or appear on various chat shows and being what we think of as a ‘celebrity’. Perhaps the greatest thing about Billie Marten is she has no hidden wiles and unexplored tensions; no harsh outer skin or desire to embrace the late-night lifestyle – someone the music world desperately needs to appreciate and promote as an advertisement for the better way of living. She loves her books and loves performing to new faces – despite nerves still being an issue – and a life-long desire to purchase an alpaca – you can imagine she’d have it next to her bed or watch it eat her parents’ plants whilst they were away at work! It is those quirky edges and smile-inducing biographical revelations that make her a true one-of-a-kind. The beautiful, intelligent Yorkshire lass is as striking as she is modest. The teenager has just released her debut album, but one must realise, she will be making albums for decades to come.

Writing of Blues and Yellows is an album you cannot imagine anyone else was involved with. It would seem odd to have a producer or engineer calling shots or being involved. The songs were all penned by Marten – except for It’s a Fine Day which is the sparsest, most curious song on the album – and her voice and guitar are the only things you hear for the most part. There is the odd bird sample and other strands but, by and large, it is the seventeen-year-old and her soul. Maybe she will embrace piano sounds on her next record – an instrument I feel will add flesh and majesty to her songs – and perhaps orchestral swathes. I often see her as a Nick Drake-esque typewriter. Deeply poetic, brilliant and quotable – someone whose lines and thoughts are superior and vastly fascinating. If Writing of Blues and Yellows is her Pink Moon – Drake sat alone with guitar recording the tracks at night – then future record might be more Bryter Later and Five Leaves Left – strings and pianos and more percussive expressions. That is all for future consideration but Marten appeals to the heart because the music sounds like it was recorded in her bedroom with nobody else around. Maybe the sun is streaming in but there are no distractions and technicians; a young woman surrendering herself to the moment and producing the most personal and immediate music she possibly can. Even if she does expand her sound and employ more edge and rouse in follow-up records; you feel the recording method and production sounds will all remain the same.

[youtube https://www.youtube.com/watch?v=gTWz-zy3re4&w=560&h=315]

I’ll end by bringing things back to Kate Bush and the reason this all started. It is hard to say whether Billie Marten will be packing them into venues in her 50s but one suspect she has a long and fruitful road ahead of her. Watching her blossom and be heralded this early is pleasing and her artistic maturation is going to be one you will not want to miss. The last time I heard a voice and set of songs affect me profoundly was when I was a child and listening to The Kick Inside. During the late’80s and early-‘90s, I was started to discover music and Bush’s bewitching voice and incredibly ageless songs – from someone who was a teenager when she recorded the album. Kate Bush has endured because of that debut album and the path she took after it. Not wanting to be thrust into the limelight and record her music the way she wanted to – choosing a more home-set, honest methodology and having creative control right from the start. Billie Marten recorded her debut album even younger than Kate Bush and one feels has been writing songs/poetry from an early age, too. Play the albums in tandem and those similarities and subtle difference really do start to come through. I am not saying Billie Marten’s career trajectory will be exactly the same as Kate Bush. Marten might not choose to create her own Hounds of Love – although that will be something to see! – but you know there are many more albums ahead and decades-long duties and demands.

She (Marten) has a list of influences but one wonders whether Bush is among them? It would be interesting to find out more as I can see Billie Marten enjoying sell-out gigs and having a huge legacy. The first steps are vital and she has already proved she is one of the finest young songwriters in the world. That voice will only improve and expand as the years go by - not only meaning her music can step into new genres but fresh nuance and emotional sides can emerge. The same way Kate Bush stunned people with her demonic, animalistic vocal on Get Out of My House (the closing track to 1982’s The Dreaming); Marten has that same potential and talent. There are so many young singers and musicians out there but Marten stands out because of who she is as a person – not what the charts mandate and fitting into critical moulds. If you have not discovered the multiple sides, joys and pleasures of Billie Marten’s music I would urge you all to do it and discover a sensational young talent. Writing of Blues and Yellows might be the start of things but is certainly…

NOT the end of things.

[youtube https://www.youtube.com/watch?v=7sUHI9Ec4jM&w=560&h=315]

__________________________

 Follow Billie Marten

 PHOTO CREDIT: Victor De Jesus

Official:

http://www.billiemarten.com/

Facebook:

https://www.facebook.com/billiemarten/?fref=ts

Twitter:

https://twitter.com/BillieMarten

Instagram:

https://www.instagram.com/billiemarten/

VEVO:

https://www.youtube.com/user/BillieMartenVEVO

____________________________

Live Dates

http://www.billiemarten.com/#live

INTERVIEW: Mowbeck

INTERVIEW:

  

Mowbeck

___________________________

IT has long been my assertion that some of the most interesting bands…

in the country are emerging from outside the capital. This is true of Nottingham’s four-piece sensation, Mowbeck. The guys have just released the gripping ballad, Vaseline. Taken from the recent debut E.P. Talkabout: it is a bold and bright statement from a band with plenty more left to say. Recorded in a dark and dingy studio deep in an industrial estate; it allowed the boys chance to get down to the core and create some gritty, edgy sounds. Stepping away from their early Pop roots: the new material finds Mowbeck stepping into new realms and coming up with some sensational results. I have been chatting to Andy, Lee and Phil from the band about their recent material and what went into the E.P.; advice they would give to new artists and how important their hometown is to them.

_____________________________

Hey guys. How has your week been? What have you been getting up to?

Andy: Hello! Thanks for having us. It’s been good - we’ve spent the past few nights writing and tracking demos which is always pretty exciting. Our drummer, Finn, is currently in America so we’re gonna bombard him with new tracks when he gets back.

For those who are new to your work: can you introduce yourself to us?

Lee: We’re a band called Mowbeck from Notts. and we play moody, gritty, Pop music - that we hope you enjoy.

[youtube https://www.youtube.com/watch?v=vMwOcO1o3Gk&w=560&h=315]

Vaseline is your new track. It continues on from your previous sound but is your (in my view) finest track yet. Can you tell us about the track and where the idea came from?

Andy: Vaseline is the song in the set that puts us all in a trance during the set. We tried to create a certain vibe during the writing process and make the lyrics really come to life as much as possible. I think every band tries to write a song that is instantly recognisable and that fans (and new listeners) both love. The lyrics are quite hitting and we’ve had some really great feedback so far from it.

A lot of bands/musicians love music videos whilst others hate shooting them. Do you like shooting then? It seemed like Vaseline’s shoot would have been pretty fun.

Lee: Music videos are really fun but always risky because they cost a lot of money and can quite easily look average - unless you find a really passionate and talented director. Vaseline is the first video we’ve been a part of that we’re not actually in - and relinquishing that control to someone to paint the visuals over your track is always a big risk. Luckily, George Maguire (who shot the video) did such a great job and has got such a cool knack for the kind of visuals we wanted. Big kudos!

[youtube https://www.youtube.com/watch?v=c98xxkZd8wM&w=560&h=315]

Talkabout is the latest E.P. and has been met with acclaim. What has the reaction been like when playing the tracks live?

Andy: I remember when we first recorded the initial demo. for Talkabout. There’s this bit at the start of the last chorus where the instruments cut out and the phrase “We’ve got something to talk about” comes back in - and we really hoped that the crowd would latch onto that and scream it back to us (if we ever get a big enough crowd to do it). Luckily, at our London headline show last month, that happened. The electricity during that whole song was insane. Likewise, with the whole E.P. just the idea that people have sat at home learning all the words to your tunes - and then come to your shows and sing them all louder than you do - is so magical. The live versions of those songs have ten-times the energy and we never get tired of playing any of them.

The E.P. was recorded in a dark and dingy space on an industrial estate. That seems like an extreme way to work. What was the reason behind that decision and did it help with regards recording/creativity?

Phil: We didn’t really have any other choice in all honesty. We found a cool practice space in a town called Sleaford that we fell in love with pretty early on; the songs just came to life in there. There’s something really special about that space and our sound just developed every week while we were there. It was magic.

You have pushed away from your Pop roots to embrace something darker and gritty. What compelled that creative transformation?

Andy: I think, naturally, as musicians we were always going to develop our sound at some point. Our earliest songs were recorded and released before our lineup was even completed. They just didn’t sound like we did anymore if that makes sense? We’d outgrown it. Also, lyrically, I didn’t like what I had written about back then as it wasn’t what was on my mind and anymore. I didn’t want people to hear Mowbeck and think 'Oh this guy is really cheesy; he’s never experienced anything bad'. We’d started listening to rockier music too and more ‘60s/’70s influences started to peek into the songs we were playing. It’s been a really exciting transition and we’ve all really grown as people during the process as well.

Over the course of your career, the band has played Reading & Leeds and (had your music) played on Radio 1 and Radio X – among other stations. Has it been quite surprising getting this acclaim or has it been a lot of hard graft?

Andy: I think a lot of bands don’t really mention all the late nights, shitty jobs and compromised relationships you have to accept as a norm. even at this stage. So, it’s always really gratifying to get opportunities such as Reading & Leeds and airplay on Radio 1. BBC is such a great support mechanism for bands like us and we can’t thank them enough for their support. We’re very far from ‘making it’ but it still feels pretty insane to hear ourselves played on stations like that.

 You hail from Nottingham. What is the local scene like there and are you still there at the moment?

Phil: Nottingham is sick! We fall more and more in love with the place the more we’re there. It’s got such an exciting music scene in as well. We went along to a charity music event last week called Hockley Hustle where loads of local artists play loads of music venues around the city centre for charity. It was such a good day. The bands and artists here are so talented as well - we wouldn’t want to be anywhere else.

Mowbeck have been championed due to their D.I.Y. approach and homemade sound. Do you feel too many bands are keen to rush into the studio and over-polish their sounds?

Lee: Yeah. I think there was a time a few years ago when bands were all trying to sound as polished as possible and spend all their money in these big studios - but independent and unsigned artists just don’t have the money to do that every time they want to get tracks laid down. We love doing it ourselves because it means we can tweak or edit everything whenever we want it. Plus, it’s was more fun this way!

 [soundcloud url="https://api.soundcloud.com/tracks/255766901" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Music-making is becoming expensive (in the studio) so more or turning to cheaper spaces and technology to record their sounds. Do you think this is a sign of the future?

Lee: 100%, yeah. A lot of people complain that there’s no money in the music industry anymore and it’s really hard to get anywhere, but I think, if you make good music and write good things then you’re going to eventually be recognised even if your tracks aren’t recorded at the best studio in the world. We recorded the whole of our E.P. in Phil’s house with Phil on the desk - as we all grew as musicians; he grows as a producer as well. Money isn’t always the key to it and you learn so much more in a situation like that.

Every band has that prankster or messy member; the one that causes a bit of chaos. Is there anyone like that in Mowbeck?

Andy: Haha. I think we all have our moments, although Phil can be a bit of a wildcard at times. After our first show in Newcastle - just over a year ago - he had one too many shandys and ended up passed-out in a graveyard. It took me the best part of an hour to find him. Luckily, we didn’t have a show the next day or you’d have seen a very fragile bassist on stage.

Phil: No comment.

Looking to the future: what plans have you guys got for the coming months?

Phil: We’re currently building a team around to help take everything to the next stage. We’re also really keen to better everything we did on the Talkabout E.P. so we’re going to lock ourselves away for a bit and make sure what we put out next is bigger and better. We’ve got a headline show booked on the 19th November at the Nottingham Bodega - where we’ll be playing our longest and biggest headline set yet; so we’ll hopefully see a bunch of our supporter there before we head back to the studio.

 

PHOTO CREDIT: Georgia Richards

Are there any particular acts or albums that have been influential to the band? Who are the musical heroes/heroines that have had the biggest effect on you

Andy: The first album I bought was T-Rex & Marc Bolan’s greatest hits. I remember watching Billy Elliot when I was really young and becoming obsessed with the soundtrack - which was probably why guitar music has always had a special place in my heart. As a band, we take a lot of influence from bands such as the Killers and Kings of Leon. Everything we hear influences us in some way. The more music you listen to, the more open you are to create something unique and original.

Which new bands/artists coming through would you recommend we check out?

Andy: VANT IS a band we’re really excited about right now: 2017 should be pretty huge for them. We checked them out at Reading Festival and you can tell it’s only a matter of time before they blow up. We saw a guy called Youngr the other day too who is ridiculously talented and we’ll all be hearing a lot more from soon.

For those young bands looking to follow you into music: what advice and tips would you offer them?

Andy: Don’t do it, it’s a trap. Ha. But, seriously, it’s a lot of hard work so make sure you’re willing to work your balls off even if it’s just for a little reward. Be original too: we’ve still got a lot to learn but all the bands that become massive always do something that nobody else is.

Finally, and for being good sports, you can select any song (other than your own as I’ll include one) and I’ll play it here…

Phil: Mystery Jets – Bubblegum. It’s been our favourite song of the year so far!

[youtube https://www.youtube.com/watch?v=yzxwujoJLNc&w=560&h=315]

________________________

Follow Mowbeck

 

Facebook:

https://www.facebook.com/mowbeck/?fref=ts

Twitter:

https://twitter.com/mowbeck

Instagram:

https://www.instagram.com/mowbeck/

SoundCloud:

https://soundcloud.com/mowbeck

YouTube:

https://www.youtube.com/channel/UC4Hc7lfsQOKEjdnw8sONKZA/videos

FEATURE: The October Playlist: Vol. 4

FEATURE:

 

The October Playlist: Vol. 4

______________________

THIS must be one of the most packed and busy…

playlists since its inception. I have included some special songs for those who prefer the older, finer sounds. Stevie Wonder’s Songs in the Key of Life is forty years old – included a classic cut from that – while Kate Bush will release a three-disc live album, Before the Dawn (25^th November). Radiohead have just been announced as the first headliners for Glastonbury 2017 – any excuse to play one of their songs. While there are some fantastic established artists sharing big news: let’s not forget the slew of brand-new acts unveiling new tracks and albums over the next couple of weeks. I have been busy collating the newborn singles and forthcoming-album-examples from the buffet of variety that is modern music.

__________________

Radiohead – Karma Police (Live at Glastonbury '97)

[youtube https://www.youtube.com/watch?v=IYnBoHjtYP8&w=560&h=315]

EL VY – Are These My Jets?

[youtube https://www.youtube.com/watch?v=PX5h2wp0dj4&w=560&h=315]

The Last Shadow Puppets – Is This What You Wanted

[youtube https://www.youtube.com/watch?v=s8LtrwbEUow&w=560&h=315]

Yak – Semi-Automatic

[youtube https://www.youtube.com/watch?v=cm19KZBaBeA&w=560&h=315]

Devendra Banhart – Fancy Man

[youtube https://www.youtube.com/watch?v=UvTMZQKKlXY&w=560&h=315]

Justice – Alakazam!

[youtube https://www.youtube.com/watch?v=oAJzF8QIlQQ&w=560&h=315]

Lady Gaga – A-Yo

[youtube https://www.youtube.com/watch?v=-l5G5BT8-fQ&w=560&h=315]

Toothless (ft. Flyte) - The Sirens (Live and Poolside on a Plastic Lilo)

[youtube https://www.youtube.com/watch?v=6xG5C7H7wQg&w=560&h=315]

Stevie Wonder - Sir Duke

[youtube https://www.youtube.com/watch?v=s6fPN5aQVDI&w=560&h=315]

Alex Vargas - Higher Love

[youtube https://www.youtube.com/watch?v=zEkVBz7qxcw&w=560&h=315]

Kate Bush – King of the Mountain

[youtube https://www.youtube.com/watch?v=TPW4DdGo2Z0&w=560&h=315]

Árni – Bore You with My Melody

[soundcloud url="https://api.soundcloud.com/tracks/288896603" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Honeyblood – Sea Hearts

[youtube https://www.youtube.com/watch?v=nMRJbhxXOtg&w=560&h=315]

Crystal Fighters – All Night

[youtube https://www.youtube.com/watch?v=KN_pRsq8C2A&w=560&h=315]

Young Legionnaire – Heart Attack

[youtube https://www.youtube.com/watch?v=6x0cBp1ebVw&w=560&h=315]

Deaf Havana – Trigger

[youtube https://www.youtube.com/watch?v=B-JXjOQgIPg&w=560&h=315]

Alex Clare - Gotta Get Up

[youtube https://www.youtube.com/watch?v=9CyWaOTA-x0&w=560&h=315]

sarasara – Supernova

[soundcloud url="https://api.soundcloud.com/tracks/289285837" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Moby & the Void Pacific Choir – Are You Lost in the World Like Me

[youtube https://www.youtube.com/watch?v=VASywEuqFd8&w=560&h=315]

VANT – Peace & Love

[youtube https://www.youtube.com/watch?v=coeO8HWHjoc&w=560&h=315]

Le Tigre – I’m With Her

[youtube https://www.youtube.com/watch?v=vLGFyxAP0QE&w=560&h=315]

Concrete Jungle - Au/Ra

[youtube https://www.youtube.com/watch?v=1lExqI4_VUQ&w=560&h=315]

Sage the Gemini – Now and Later

[youtube https://www.youtube.com/watch?v=dOo9Xqw3HMk&w=560&h=315]

The Radio Dept. – We Got Game

[youtube https://www.youtube.com/watch?v=e1zvxueZtTg&w=560&h=315]

 

The Game – However Do You Want It

[youtube https://www.youtube.com/watch?v=ua1h05ERRz8&w=560&h=315]

Emeli Sandé - Garden

[youtube https://www.youtube.com/watch?v=garBZwVW2K8&w=560&h=315]

Grace Lightman – Repair Repair

[youtube https://www.youtube.com/watch?v=1sFU5_zmA5U&w=560&h=315]

Enter Shikari – Hoodwinker

[youtube https://www.youtube.com/watch?v=1qCpoH4VO9Y&w=560&h=315]

Parson James – Sad Song

[youtube https://www.youtube.com/watch?v=aKTJwvL2rxA&w=560&h=315]

GLADES – Skylines

[youtube https://www.youtube.com/watch?v=EBhj1YHaYkA&w=560&h=315]

King Charles – Find a Way

[youtube https://www.youtube.com/watch?v=LJNBuVEvxeI&w=560&h=315]

Michael C. Hall/Original New York Cast of Lazarus – Lazarus

[youtube https://www.youtube.com/watch?v=dJuJcCx5-xE&w=560&h=315]

The Courteeners - No One Will Ever Replace Us

[youtube https://www.youtube.com/watch?v=_mPFOVyS25k&w=560&h=315]

Illy (ft. Anne-Marie) – Catch 22

[youtube https://www.youtube.com/watch?v=Xc3BTs9sPUc&w=560&h=315]

Kelly Rowland (ft. Trevor Jackson) – Dumb

[youtube https://www.youtube.com/watch?v=MbGBRA7TNj0&w=560&h=315]

NxWorries (ft. Anderson Paak & Knxwledge) - Lyk Dis

[youtube https://www.youtube.com/watch?v=2hEm94gx1y8&w=560&h=315]

Dusky – Songs of Phase

[youtube https://www.youtube.com/watch?v=1oDM8nhGo1U&w=560&h=315]

Faith No More – Cone of Shame

[youtube https://www.youtube.com/watch?v=6Z0k5yiCmFs&w=560&h=315]

The Naked and Famous – Higher

[youtube https://www.youtube.com/watch?v=GCsyXSr7u-Q&w=560&h=315]

Helmet – Bad News

[youtube https://www.youtube.com/watch?v=TkFMvststF0&w=560&h=315]

Tanya Tagaq (ft. Shad) - Centre

[youtube https://www.youtube.com/watch?v=aPpZex_QxGE&w=560&h=315]

Jimmy Eat World - Integrity Blues (Acoustic)

[youtube https://www.youtube.com/watch?v=komeC7vkaoc&w=560&h=315]

Spirit Club – Broken Link

[youtube https://www.youtube.com/watch?v=H59cofliDw0&w=560&h=315]

John K. Samson - Winter Wheat

[youtube https://www.youtube.com/watch?v=h9NMnPm5kXc&w=560&h=315]

Korn – Baby

[youtube https://www.youtube.com/watch?v=zqVr3aYIves&w=560&h=315]

Lori Cullen – Then There Were Three

[youtube https://www.youtube.com/watch?v=YVaS02zq6_w&w=560&h=315]

Savoy Motel – Sorry People

[youtube https://www.youtube.com/watch?v=fiXj6bo99iY&w=560&h=315]

The Hidden Cameras – The Day I Left Home

[youtube https://www.youtube.com/watch?v=1UQbxvkRgTQ&w=560&h=315]

 

Last week I gave you some Bob Dylan goodness: this week, Kate Bush, Radiohead and Stevie Wonder! The spoils of music and all the unpredictable joy it can bring is hard to define and impossible to refuse. It is pleasing finding so many new artists do well and provide some fantastic songs. Who knows what next week’s edition of The October Playlist will introduce?! It has already been a memorable and exceptional month of music so far, so we will have to wait and see.

TRACK REVIEW: Yotam Mahler - Birthday Wishes

TRACK REVIEW:

 

Yotam Mahler

 

 

Birthday Wishes

9.5/10

Birthday Wishes is available at:

https://soundcloud.com/yotammahler/birthday-wishes-1

RELEASED: 6^th September, 2016

GENRES: Pop; R&B; Soul; Electronic

ORIGIN:

Tel Aviv, Israel

CREDITS: 

Music, Lyrics; Production, Piano; Fender and Vocals: Yotam Mahler Bass: Eyal Matri Violins: Galit Rolbin and Yoav Bar Cello: Yael Shapira Beatbox: Adi Mahler Mix: Noam Helfer and Roey Avital Master: Matt Colton

____________________________

BEFORE I come to looking at a truly unique musician…

his arrival (to my ears) has prompted a reevaluation of Israeli music and international acts; electronic music and the variations and mobility in the genre; looking at classic musical and bringing a sense of sophistication into music. I have been spending a lot of time interviewing various artists: getting to know what they do and the type of music they are playing. From sassy U.S. solo singers to British bands; all forms of life and musician – quite an eye-opening experience. It is fascinating getting to know artists and what goes into the creative process; where they come from and where they want to head. In the modern music age, everything is so disposable and quick: we never really sit down and take the time to discover a musician and what they are about. I bring this point up because I am not only getting a chance to feature a great range of artists but take my mind outside of London and the U.K. It is awesome promoting British acts but it is great getting out of the country and going somewhere else. It has been a while since I have ‘visited’ Israel – perhaps not since I reviewed ADI (Ulmansky). Many people are unaware Israel has a music culture, let alone one that is both modern and burgeoning. When one thinks of nations like Israel; you have the preconceived notions and ideas of what can be found. I guess, from an outsider’s viewpoint, there is that perception of rather localized, World-sounding music that has no commercial appeal and the chance of appeal – either that or U.S. /U.K. chart music infiltrating the radio stations and bars. That is true to an extent – the country embraces British and American sounds – but the nation has its own stars and bands emerging. Before I look at Tel Aviv on its own merits, it is worth looking at some of the best artists coming out of the country of Israel.

Many websites and publications made tips for this year – back in 2015 – but have not updated the lists in the last year-or-so. Maybe that means there are no new wave of great bands or perhaps those acts – that were tipped back then – are still making their way through. If one thinks about bands such as Orphaned Land, Mashina and Rockfour; Hadag Nahash and Monica Sex – a few examples of Israeli artists from the 1980s – present. Distorted Harmony, Garden City Movement and Hammercult are newer and more recent in terms of relevance – just showing the variation and genre-blend that one can find there. In terms of the new artists emerging from Israel – it would be foolhardy to overlook the likes of The Angelcy. The band came together in 2011 and have played festivals around Europe. Eclectic music – Folk, Reggae and Oriental among them – is backed by ukulele, flute and contrabass (among other instruments) and the ensemble are ones to watch carefully. Tamar Eisenman has already crafted a longlist of great songs. The self-produced star composes her songs in both Hebrew and English; working on a couple of albums and is a musician that has a distinct future. A Post-Rock/Electronic/Groove band: Tiny Fingers have played at festivals across the U.S. and Europe. Having just released their album MegaFauna; it is a forty-five-minute instrumental experience like no other – the four-piece band is one of the most distinct in Israel. Ethiopian looks/heritage and Israeli basing mean Ester Rada is one of the most alluring, fascinating and multi-cultural musicians around. Bits of Ethio-Jazz and Funk come with Soul-cum-R&B shades – a bright and brilliant young talent you should clear some time for. Tatran are the last Israeli act I will bring in and recommend. The three-piece instrumental guitar-bass-drum are as varied and eclectic as they come – the trio has released an album and have a very dedicated following in their home country.

Making moves and steps throughout 2016: they have the heart and talent to translate into Western markets and mainstream tastes. Before I come to my next topic – making my way to the music in question – it is worth investigating Yotam Mahler in the context of Tel Aviv. He is my featured artist and someone who takes inspiration from Classical music but the sounds and sights of Tel Aviv. It is not a surprise finding a Tel Aviv resident make such exceptional music and prosper. The city is the financial and technological hub of Israel and home to near quarter-of-a-million people. Not only a financial and technological epicenter: the city has a diverse nightlife filled with nightclubs and bars staying open to well past midnight – much more electric and exciting than a lot of British cities. A young and vibrant city:  Tel Aviv has been dubbed ‘the best gay city in the world’ by American Airlines – a hugely popular destination for L.G.B.T. tourists and community. The city hosts a famous pride parade – the biggest in Asia – and attracts over 10,000 people a year. Throw into the mix the city’s luscious beaches and promenades – Hayarkon Park is the most-visited urban park in the country – you have that balance of L.A.’s sun-kiss shores and London’s cosmopolitan, vivacious night scene.

Mahler vibes from the city’s cultures and contradictions but draws heavily from the culture and classical touches of Tel Aviv. Not only inspired by Tchaikovsky and Shostakovich – two of his favourite composers – he learned a lot from the Jerusalem Academy of Music and is finding much influence and support in Tel Aviv. Electronic music is a genre that is as wide-open and varied as any out there at the moment. Perhaps in past decades, it was a more linear, less expansive genre – that is not the case in 2016. You only have to look around the find a plethora of musicians stretching Electronic music to its limits. Whether stirring it with warm Pop sounds or harsher Dance beats - maybe cinematic elements thrown in or something more omnidirectional and restrained. Given Mahler education and impressionistic leanings: his music has that age-old, traditional quality but a modern orchestral twist. The colours, textures and scenes the greats of Classical music painted have clearly resonated inside the young artist. He has been driven by their command, genius and innovation – updating that sound and teasing it with fresh and urgent strands.

Classical music is used by acts like The Cinematic Orchestra and, to a lesser extent, by a lot of modern chart acts. I hear so many musicians that employ strings and quartets in their songs: maybe something fuller and more sweeping. From Pop/Soul acts Lana Del Rey to bygone legends David Bowie: one cannot underestimate or ignore how relevant Classical sounds are in the twenty-first-century. The foundation and basis (debatably) for all music as we know it – strings and orchestral elements are hardly being employed ironically or casually. There is that inherent and unbreakable bond to eighteenth and nineteenth-century composers (especially). Following Romanticism and the period between 1800 and 1850 – where literature, art and music was defined by emotion and individualism – there was a move towards Romantic composers in the Classical genre. Although Mahler sources Tchaikovsky as influences – who had a wide stylistic emotional range and switched from salon works of little charm to tremulous symphonies – there was always a sense of tenderness and passion beneath the power – as defined in his operas and works like The Nutcracker Suite and Swan Lake. A lot of modern musicians possess elements and ideas of Tchaikovsky’s ballets and romantic work – there is a greater tendency towards more urgent, imperious string articulation. With that appropriate surname (Mahler), you get elements of centuries-old composers but there is that modern, contemporary outer skin. Not only do you get cross-pollinations of dance-floor and concert hall – you get a very personal and sophisticated musicianship. Birthday Wishes is a song very much for our time, but one that could only derive from a man like Yotam Mahler.

Birthday Wishes is the second single to be taken from (the forthcoming) What Is Your Art? E.P. It is pertinent we look back at Maher’s work to see how he has progressed. Last week I looked at Michelle O Faith and her song, Birthday Blues – questioning her achievements and taking a deep look at life. Mahler’s latest single is a more uplifted and (lyrically) hopeful song. It follows from Late Bloomer which begins its life with soothing, smooth electronics and subtle percussive clicks. A fusion of R&B and Soul: one is transported back to the 1990s with a little bit of Stevie Wonder thrown into the mix. Strings enter and yearn: swaying, graceful and curious as they rise and fall back down. When Mahler comes to the microphone; the first verse offers some revelation and curiosity: “Driving Through my attempts/I've been beaten up (you've been beaten up)/A sweet release/I can only be myself”. One gets impressions of vocal harmony groups (Boyz II Men, perhaps) but a more subtle, slowed-down version. Mahler layers his vocals and ensures his words are presented with complete commitment, passion and meaning. One feels he is referring to a sweetheart and the mistakes he’s made in the past. Being someone who has taken a long time to achieve and get where he needs to be – the song is a catharsis and explanation of the man he is today. Whether he is sending a message to a lover – or simply documenting his path in life and way things have changed – it is fascinating to get into his mind. Mahler’s voice is serene and sensual throughout; rising to a delicious falsetto before calming into a low-down, low-pitched contemplative burr. In that sense, one hears embers of early-career Prince: the way the voice can acrobatically work through the lyrics whilst never losing control. In the lyrics, the hero knows he can only be himself and can overcome the obstacles. Whether a person causes him strain or (life in general) is hard to take: he will make his way through it all and come out the other end.

Late Bloomer is a stunning and confident track from a young artist who seems fully formed and complete. Of course, Mahler has been playing music for years but few artists present something so cohesive, original and compelling the first time out. Birthday Wishes carries on from its stablemate – in terms of sounds and composition – but changes the lyrics slightly and addresses different themes. One can see some cohesion and consistency between the two songs – that distinct, cinematic sound; honeyed vocals and passion running throughout – but no shortage of confidence and presence. How the rest of What Is Your Art? will sound like will be interesting to see. Given what we know about the E.P. – the themes and stories being explored – it will be wonderful seeing what sounds and vocals go into those songs. Birthday Wishes is a worthy equal of Late Bloomer and proves Mahler is not a one-off fluke. He is a musician that brings together his Classical background but updates it with Electronic urgency and soulful sensuality. It is a busy and heady blend that one can dissect and examine: every time you hear the music, new things are revealed. This early command and quality mean future E.P.s and songs will grow and expand from this – that is quite a proposition.

I mentioned how Birthday Wishes was a more positive beast compares with Birthday Blues – perhaps there is a similar thread of doubt and self-reflection. Mahler’s once-a-year theme finds him starting in pensive and reflective mood. Before the hero comes to the microphone; there is a child’s voice – perhaps Mahler himself – that draws you back to the past and has quite a vintage, oldskool vibe. Mahler approaches and asks: “I want to receive my birthday wishes back/all these coins in the river”. Perhaps life is not going his way or things have not worked like he’d imagined. Maybe new events and unfolding have meant there is that desire to change things and get to a better place. In terms of composition, there are heartbeat-like, accelerated beats. It is quite a tense and racing coda but one that does not encroach on the song and its focus. What one notice is how meaningful and emotional the vocal presentation is. It makes one wonder whether something traumatic has occurred or a break-up, perhaps. Maybe there is just a general malaise and knowing things have not panned out like they should. Perhaps I am instantly assuming negativity. It may be the case (the song) looks at life in general and knows things are as they should be – no need to be superstitious and rely on talisman and good luck charms. It is an intriguing and deep investigation and one that compels the listener to involve themselves – rather than push them away. As the song kicks up a gear, that beat remains and keeps firm without combining with strings or electronics. By keeping things basic and sparse; it means the vocal is given a chance to shine and take central focus. The hero lets his voice glide but it almost breaks at times. Such is the emotion and themes being performed: it is quite a hard and emotional revelation. Between the first and second verse, there is little time for pause and reflection. The song keeps its energy flowing and does not drop a beat. “Hey world I have waited a while/I got more to say” suggests two possible avenues. There is that sense of mortality and a man starting to think about the end. Maybe the song looks at an older figure (or someone who feels old) and is unsure whether he has too many good years left. Maybe the song is just about a general fatigue and not wanting things to go by so fast. Mahler is a man who has seen the world and experienced a lot but is not in the mindset and place he wants to be. At the back of my mind, I am always thinking of relationships and a girl that got away. Perhaps there has been a recent collapse and that is weighing heavy on his mind.

That might be simplistic, although you can hear a very heartfelt and pure vocal. That voice is king and resonates directly with the listener. Able to present a sense of pain and loss with sexuality and something very primal and sweaty – you get a blend of urgency passion and contemplative maturity. I have mentioned artists like Prince and Michael Jackson: it is hardly an exaggeration to make comparisons between the artists. Mahler is an original and fresh musician but one who is deeply in awe of Soul and Pop greats. One hears the spirit of Prince and Jackson throughout Birthday Wishes. Our man lets it be known he has “waited a while” (a message to the world) and has much more to say. With every new line, one feels the shivers and longing emerge. It is by the second verse we get the first taste of strings. Most modern artists do not use strings effectively enough and see them as a bit of a novelty. Mahler has a definite bond and knowledge of Classical music and knows exactly how to elicit reaction and provocation. The strings have a definite grandeur and gracefulness and a real sense of class. Mahler’s voice is quite considered and never rushes. It is always slowed and calm; it does not feel the need to explode of race through the gears. This means the lyrics are easy to understand and appreciate; the meanings and expressions have better a chance of affecting and the listener does not feel harried and overwhelmed. It those newly-introduced strings that cause one to lean in and try to jump into the song. Our hero keeps the words and supplications coming: “Hey world keep my lovers around/I got more wisdom to pass them on”. After the first time through the lyrics: Mahler goes back to the start and gives the lyrics a bit more speed and intensity. Combining with Eyal Matri’s bass; the violin of Glait Rolbin and Yoav Bar; the cello of Yael Shaprira and the beatboxing of Adi Mahler – it is almost like an orchestra one is hearing. The lyrics are no less striking and meaningful when repeated. If anything, they pick up new relevance and seem to reveal more of the puzzle. It is tempting to find fatalistic ideas within the lyrics – a man that is down on his luck and defeated.

I find the song more hopeful in the sense Mahler wants to change and make things better. Perhaps this run of bad luck is what leads to a drive for betterment and fulfillment. Birthday Wishes is a track you are bonded to and appreciate the first time you hear but start to get inside the more you hear it. Not a song you can have in the background and just ignore: it demands some attention and the listener to immerse themselves in the music. It shows and unites all Mahler’s training, musical teaching and love into the one song. A delirious and stunning blend of ‘80s-‘90s Soul with Classic edges and modern Electronic elements – a wonderfully rich and compelling song. The vocals are consistently pure and sensitive but have a definite wounded heart and need for hope – you almost want to hug Mahler and let it known things will get better. There is never the sense (the hero) is wallowing and hopeless. He is always working and pressing; searching and questioning his mind and trying to get life back onto a sturdier track. You should listen to the song for the composition alone which grows and develops as the song goes on. The strings captivate and are luscious: they rise and have that cinematic grandeur. Almost like a drive through the Hollywood Hills: a blend of black-and-white film romance and symphonic rush. It is a brilliant and unforgeable instrumentation that not only has an emotional effectiveness but paints images and moves the story on. You feel the hero is driving away through the dusk and heading to a new destination – where that is will be down to the listener. By the end, you are happy for having heard Birthday Wishes and got into the mindset and world of Yotam Mahler. Another exceptional and memorable song from a fine young artist. Even stronger than Late Bloomer in terms of nuance and instantaneousness – make sure you check it out now. Credit must be given to Noam Helfer and Roey Avital who mix the track superbly and ensure all the notes and themes merge and hold naturally. Matt Colton’s mastering is exceptional too and the trio provides the song a gloss and polish that emphasises all the notes and vocals without diluting things and making the sentiments sound fake.

What is Your Art? is the forthcoming E.P. from Mahler and will arrive later this autumn. There is too much attention and focus paid to critically-approved artists and chart-friendly musicians. It might be risky embracing someone a little more ‘unique’ – a human that does not fit into conventional moulds and tries something different. Yotam Mahler is not completely separated from modern sensibilities; far from it, in fact. Late Bloomer was the lead-off single from the E.P. and laid down the foundations. Following it up with a tremendously fascinating and personal track – one that causes you to wonder and delve deeper – it is likely to be a sensational work. Mahler resides in a nineteenth-century home near the Mediterranean Sea and the wall-to-wall paintings and high ceilings are the source of inspiration and wonder – Mahler sees it like stepping into a museum. The half-Israeli half-Danish was raised in a secular community but never lived the established, traditional lifestyle – Mahler connected with Gospel music at a young age and performed at pluralistic synagogues in Jewish-Israeli communities. Feeling drawn and connected with his Jewish roots: the young musician-in-waiting brings his Classical, religious and community spirits into music that spills over with experience, pride and curiosity. Prior to Mahler completing his E.P., he had just completed a Hebrew-only album that was ready to be released.

Unfortunately, a hardware-related mishap and freak accident meant the product was destroyed – Mahler starting from scratch and producing his English-language E.P. instead.  What is Your Art? will see talents such as Noam Helfer and Roey Avital (from city-mate band Garden City Movement) come into the fold. It is not just the Classical elements that come into the work. Gospel and Soul play heavy roles and is almost uncredited characters in the story. The 1990s’ finest Soul sounds combine with lush string arrangements – all iced with wall-of-sound vocals and tense atmospherics. Late Bloomer was influenced by a daily Jewish morning prayer whereas David and Jonathan (a track that will feature on the E.P.) derives from King David’s lament for Jonathan – a new, inter-faith Romeo and Juliet-type love affair. When one looks at Mahler, you get an almost mythical figure who has a traditional, semi-religious heart and soul and the bones and blood of a young man in a modern city. Whilst working in his Tel Aviv studio – a transgender prostitute worked nearby at night – Mahler conversed with the prostitute and learned more about the life experience being discussed – that directly influenced the E.P. title track. If Birthday Wishes, Late Bloomer and David and Jonathan have more transcendent, divine and ecumenical derivations: What Is Your Art? is more lively, heretical and vivacious. The song captures the street-life in a prism of sound and love-filled vocals: a performer in awe of Tel Aviv’s multiple sides and side-alley dramas – stories and mini-dramas that unfurl during the night; dormant and tender during daylight hours. It (the title track) is not just a paen to the multitude energies of Tel Aviv: it questions contradictory chatter of society and anodyne criticisms that is levied at the pure and honest. With its street-walking, yet utterly charming, ignition: the song protects and promotes the fascinating, kind people that are often the target of subjugation, discrimination and bigoted imperiousness.

Before I bring everything down to a close; I wanted to look at the opening points about international music and Classical/Electronic seduction: artists that have depth and originality and how sophisticated, refined musical chemistry can lead to something ethereal and affirmative. I have mentioned Israel (Tel Aviv especially) and how prosperous and busy the country/city is. If you ignore and walk by Tel Aviv, then you are not only overlooked a bustling and beautiful city – you risk missing out on a whole world of wonderful music and fantastic talent. People stick to stereotypes and assume a particular country is going to have ‘national’ music and nothing that can be classed as digestible, appealing and commercial. That could not be further from the true when you think of Israel. In previous posts, I have examined nations like Sweden, Canada and Iceland: looking to subvert expectations and clichés we have about the nations; the types of music that will emanate from here. In terms of Israel, one might assume Asian music – employing traditional instruments and themes – will be all you’d hear. True, there are some Israeli acts that perform in Hebrew and have a more ‘local’ and traditional sentiment. Tel Aviv is one of the music world’s fastest-growing epicenters and is producing wonderful Pop musicians and Soul acts with African and European origins – and some terrific, tight bands. How many of these heralded artists will translate and integrate into British/American charts is hard to say. There are plenty of modern Israeli musicians that have the potential to be big stars in the future. ADI – who I name-checked at the header of this review – is a Future-Beats musician who addresses deeper themes – depression and anxieties – through kaleidoscopic electronics and soul-pounding, scuttling beats. Yotam Mahler is someone who seems at home and in love with Tel Aviv and Israel. He is provided a wonderful, rich music scene and a fantastic blend of history, faith and exciting nightlife – between the beach and the monuments, all manner of inspiration awaits!

It will be interesting seeing how Mahler progresses in the next few years and whether he choose to remain in Israel or moves out to Europe or the U.S. A lot of Israel’s best artists are touring continents but choosing to remain at home – clearly, there is a supportive and opportunity-laden music scene for young artists in the country. Perhaps not quite as prosperous and commercial as nations like Britain and America: there is something about Israel that is keeping musicians rooted and satisfied. Given the reaction and praise Mahler’s work has been given so far, one would assume he will consider a move in years to come. London is a city that seems ready-made for him – he is looked after by Brick P.R. based out of East London – and there is a Tel Aviv-esque vibe to London – albeit without the beaches and some of the glorious landscape. Perhaps the national following or clement environment will see him rooted but I would love to see Mahler perform live and spend more time in the capital – tour Europe and the U.K. and bring his music this way. In that sense, there is a big U.S. market that awaits. I mentioned (half-jokingly) how Tel Aviva brings the best of London and Los Angeles into one city. The sun and panoramic beauty of Los Angeles might tempt the young Mahler to tour and spent some time there – similarly, the energy and unpredictability of London is a seductive and alluring mistress. How that will translate and resonate with Mahler is hard to say but one feels he has a lot of places to visit.

His music is already established and known in London and one suspects there are U.S. sources that are similarly vigilante. It has been great investigating Birthday Wishes and the story of Yotam Mahler. He is a musician that perhaps embodies the new generation of Israeli artist but someone many here (U.K.) will not be familiar with – in terms of similar personalities and sounds. Mahler has that classically-trained heritage and a combination of religious/Jewish teachings and that love of Gospel and Soul. Maybe there are British artists as intriguing and interesting but I have found, over the last few months, there are not that many that distinguish themselves from the rest – all sort of looking the same with similar back-stories. Ensure Yotam Mahler is part of your new music rotation and get to understand the man behind the music. He is a fascinating human and someone whose E.P. is sure to establish him as one of the finest young musicians in Asia – a possible mainstream fixture in this country down the line. I always enjoy the opportunity to assess international acts and what is going down in their corner of the globe. Not only have I been afforded the chance to dig deep into the treasure chest that is Tel Aviv but discover an artist that prompts one to think and dig deep; gets the mind and imagination working and creates smiles, warmth and admiration. There are many English words to describe Yotam Mahler but, with regards to Hebrew, the young master…

IS simply מטריף.

[soundcloud url="https://api.soundcloud.com/tracks/281605400" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

________________________________

Follow Yotam Mahler 

Facebook:

https://www.facebook.com/mahleryotam/

Twitter:

https://twitter.com/YotamMahler

Instagram:

https://www.instagram.com/mahleryotam/

SoundCloud:

https://soundcloud.com/yotammahler

YouTube:

https://www.youtube.com/user/mahleryotam1

INTERVIEW: Signal

INTERVIEW:

 

Signal

______________________

MY breath has just come back from reviewing Signal’s latest…

single, Down. The combination of slick, sick vocals and exceptional production (Jay Picasso) brought the song to life. Collaborating with Eclipse (Picasso and his wife, Jamie Jooste) it is a bold and memorable declaration from one of Britain’s fastest-rising and most promising Hip-Hop/Rap stars. I have been following Signal since his last single, All Night. I am confident a wonderful future lays ahead and few deserve it more – always putting his all into music and throwing tonnes of passion into everything. After a busy last few months, I was eager to see how Signal has been; what inspired Down and what the Basingstoke (where he is based) scene is like – and a cheeky question about his football club, Liverpool.

____________________________

Hey Signal. How has your week been? What have you been getting up to?

Hi Sam. The last couple of weeks has been hectic since the Down release. It’s like music is a twenty-four-seven thing for me: if I’m not writing I’m busy promoting, doing research or updating my social media. I went to Liverpool last weekend to see some family with my dad (which was nice to have a little break). Back on it now, though: no rest for the wicked!

For those who are new to your work: can you introduce yourself to us?

It’s 'Big Sig'…. ha! I’m a rapper from Basingstoke and I’ve been making music for ten years. I studied at the Academy of Contemporary Music (in Guildford) and graduated with a degree in Music Production.

All I’ve ever wanted to do is make music and perform.

I like to think my style is unique and I have featured heavily on B.B.C. Introducing this past year. I’m a telecoms giant during the day (big-up Peter from Dragons' Den) and artist at night.

You recently launched (new single) Down at Fever & Boutique in Basingstoke (with Eclipse). What was that night like and what was the crowd’s reaction like?

The whole night was a movie! It was such a sick experience and gave me a real taste of what’s to come. The support was overwhelming: lots of people grabbed up a C.D. that I was giving away. Big-up the team for passing through and Thom from Fever for the Making it Happen hashtag!  

[youtube https://www.youtube.com/watch?v=51qP6nTKWYI&w=560&h=315]

Speaking on the new single: can you tell us what inspired that song?

The inspiration came from a lot of things, to be honest. I wanted to be able to dance (you should see my hip-move) to the beat and after listening to my E.P. I couldn’t really hear any of those tunes in a nightclub as such. So I guess it was kinda (sic.) stepping out of my comfort zone but probably the best decision I’ve ever made. It goes down as my favourite and best material to date that’s for sure.

The session was organic; the beat and lyrics were written there and then within a five-hour studio session.

Jamie vocalised the chorus at a later date. I have just finished recording the next single which, again, is influenced by this sound (and is featuring Eclipse).

You join with Eclipse for this single. How long have you been a fan of them (Jamie Jooste and Jay Picasso)?

Since I knew about them! It wasn’t until a couple of months after I met Jay that he mentioned that he could rap (as well as produce) and showed me his E.P. It is sick by the way. Testament E.P. - check it out!  I then discovered Jay and Jamie as Eclipse and became a fan instantly. We worked together on Leave This Girl Alone taken from the Make It Happen E.P. Jamie is ridiculously talented and her chemistry with Jay - being his wife and all - compliments any beat they work on together. 

Down finds you re-join with Jay Picasso – who produces and provides backing vocal. What is he like to work with and how influential has he been with regards moulding your music?

I’ve got the utmost respect for Jay Picasso: not only as a producer and a musician but as a good friend.

Jay has been fundamental in my development and the quality of my music has stepped up significantly since I was introduced to him. He’s a pleasure to work with: we’re always on the same page and it’s got to the point where I’m reluctant to work with anyone else - unless it has Jay’s input in terms of the production. The guy is a machine!

[youtube https://www.youtube.com/watch?v=a_rEWgbhvSk&w=560&h=315]

All Night was your previous track and gained huge feedback and praise. Were you surprised by the reaction it accrued?

Big shout-out to Ryan Samuda and Nana on the visuals! It’s a typical ‘Signal’ song: witty lyrics full of innuendos and a bad-boy production from ‘Kenan’ (Sorry Jay: you mentioned ‘Big Sig’ in your interview). The most surprising thing was the support from the B.B.C. Introducing team at the time of release. I had two radio interviews; a freestyle and live session from B.B.C. in Brighton and Reading in less than three days. It certainly makes doing what I do worth it.

Can we expect to see a Signal E.P. in the coming months?

Definitely - after releasing the Make It Happen E.P. earlier this year. The focus has been on single releases and finding a sound that best suits my style. I believe I have found that sound through Down and a collaboration E.P. might be on the cards - even talks of a new group. I’m sure you know who I’m talking about - the new N-Dubz? :)

You hail from Basingstoke. What is the music like there and how much support have you received from the home crowds?

The music scene is definitely growing.

The one thing that Basingstoke lacks is opportunities for local artists.

There used to be an event called Beats ‘n’ Bars (shouts to Patsy) which was essentially an Urban event - with local rappers/singers showcasing their talent and often opening up for a headline act. Kano and Chipmunk came down - this was like eight years ago.

Back then it was absolute madness: times of Channel U! The only thing us Urban acts have got to look forward to is Basingstoke Live every year on the Sunrise Stage - which is effectively continuing the Beats ‘n’ Bars tradition. In terms of the support, it has been amazing - especially within the last year. My social media is growing as a result and the Basingstoke Gazette has featured me in articles on numerous occasions. I’m sure you’ll get to see me perform at Fever & Boutique again with future releases.

I know you spend a lot of time performing in London. Is that a city you’d like to move to? What are your favourite venues/areas of London as a performer and music fan?

Absolutely!

The dream is to be in the studio every day: making music and performing in London on a consistent basis.

I’ve performed in Camden a few times and it’s always a sick vibe and atmosphere. I’ve seen various artists perform at the 02 Arena and Wembley; so to headline/support in one of those locations would be a dream come true - when Em. (Eminem) brought out (Dr.) Dre at Wembley!

How did you first get into music and what attracted you to the genres of Hip-Hop and Grime?

Well, I just about missed out on the Garage scene but my bro. Pete ‘Danger’ used to D.J. and ‘chat’ over Garage. There is six years between us so I think that had a major part to play in my upbringing from a young age. I was about thirteen/fourteen when some new kids moved down my street in Popley. They were from Reading and the kids were my age. Funnily enough, all the brothers could rap. It was them that got me into it properly and even thought of the name ‘Signal’. It’s kinda stuck since then although I wish I used the name ‘Amps’. It went from spitting over Grime beats with my new pals against the wall; making videos for Bebo to linking up with my best mate Onias ‘Serva’ - where we recorded my first studio song Sexy Love (at my old school, The Vyne). F.Y.I.: do not try and look for it on Google. Ha, proper cringey!

I released a mixtape called You Ain’t Ready for This which was followed by Demons in Disguise with Kamikaze - who I met at college. It was only when I got to uni. where I started experimenting with flows and styles - which created the path for my first Hip-Hop mixtape (Alive) with fellow students Jay O-K, Joe Kane and Serva. When I left university, I was signed to a management company called Titans Entertainment who introduced me to Jay Picasso. Big respect to Inspekta and KO for making the connection. The rest is history!

https://www.youtube.com/watch?v=PhjnaZmOzHc

Are there any upcoming artists you’d like to give a shout-out to?

Wayne Woodward: say no more, really. The whole Starcity movement is doing things at the moment. Exciting times ahead. Watch out for Wayne’s album.

I know you’re an ardent Liverpool F.C. fan. What have you made of their season so far? Do you get much chance to go to football?

Man like Klopp! I’ve been very impressed with Liverpool this season. We’ve finally managed to find a bit of consistency (barring the Burnley game). I truly believe Liverpool’s going to win the league under Klopp - doubt it will be this year but certainly within the next few seasons; providing we can keep hold of Coutinho! I’ve been to a couple of games in the past but tickets are so hard to get hold of. I went for my twenty-first which was the best experience - sitting next to the Kop singing Y.N.W.A. (You’ll Never Walk Alone). Goosebumps!

Which artists and albums have been most important to you – either now or when growing up?

I was brought up on nothing but Michael Jackson - he was my hero! Imagine: my dad managed to get hold of tickets when the last batch came through for the 02 Arena and Michael died a couple of weeks later - heartbreaking! Kanye West’s Late Registration was the first Hip-Hop album that I bought so that will always remain an important album as well as John Cena’s (Yes, the wrestler, haha). Believe it or not, he’s not a bad rapper.

My biggest inspiration, though, has to be Eminem. Eminem is arguably one of the greatest rappers of all time, and in my opinion, the best!

For those new artists looking to follow you into music: what advice and tips would you offer them?

Practice makes perfect! Be consistent; be prepared to make sacrifices and always take opportunities. Be as active as possible on social media and only put out material that you’re 100% happy with. Think of your music being a brand and a business. Marketing is essential!

Finally, and for being a good sport, you can select any song (other than your own as I’ll include one) and I’ll play it here…

Emile Sande – Hurts (Radio 1 Live Lounge version). Have you heard the passion in her vocals?!

 [youtube https://www.youtube.com/watch?v=7QO4g5zC3xU&w=560&h=315]

________________________

Follow Signal

 

Official:

http://signalofficial.com/

Facebook:

https://www.facebook.com/SignalOfficial/?fref=ts

Twitter:

https://twitter.com/signalofficial

Instagram:

https://www.instagram.com/signalofficial/

YouTube:

https://www.youtube.com/user/signalofficial1 

INTERVIEW: Blayre Mic

INTERVIEW:

 

 

Blayre Mic

_____________________

YOU will not find too many in the world of music like Blayre Mic…

I can tell you that for certain. I have only know about her for a few months – I reviewed her single, Love B.M.P. quite recently – but have already fallen under her spell. The blue-haired, Oakland-born musician is in London right now and setting the city alight – getting tongues wagging and making her way under the radar of some of music’s biggest movers and shakers. Love B.M.P. has just been provided (an awesome remix) and I was eager to chat with Blayre Mic and ask her about the Oakland music scene; whether there is a gender/race imbalance in music and what she is making of London.

__________________________

Hey. How has your week been? What have you been getting up to?

My week has been awesome! I’m so happy to be out promoting the remix to my lead single, Love B.P.M. (featuring Ms. Banks). I’ve been visiting radio D.J.s and speaking with bloggers throughout London. I also found a little time to visit neighborhoods in London like Peckham, Elephant & Castle and Chelsea.

For those who are new to your work: can you introduce yourself to us?

Greetings and Salutations! My name is Blayre Mic and I’m just your average blue-haired, BAD-ASS singer/songwriter/lyricist/cheeky-chick - here in London (by way of Oakland, California) trying to make my mark on the U.K.

 

The first thing that strikes me about you is your blue hair and unique look. How does image and fashion inspire you and do you think it is important to stand out from the crowd?

I love fashion and the story you can tell with it so it's a huge inspiration for me.

Besides my voice my blue hair is something that most people remember about me - but I didn’t start going blue as a means to stand out from the crowd. I started dying my hair blue to express myself with color and blue always seemed like a happy and inviting color to me. People initially told me I shouldn’t so it made me want to do it even more.

I think it’s important to stand out from the crowd in order to express yourself freely. Standing with the crowd is too easy… standing alone behind your decisions is much more interesting and empowering.

I mentioned your blue hair and distinct fashion, but it goes deeper than that – such an intriguing look. Are there any fashion icons and people that have compelled you in that respect?

Aww thanks! Oh wow, I’m inspired by so many people but I’d say the fashion icons that inspire me the most are: Grace Jones, Andre 3000; Alexander McQueen and Gwen Stefani.

[soundcloud url="https://api.soundcloud.com/tracks/276777346" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Love B.P.M. is your current single – one that I loved reviewing – and has got some hot reviews and love. Did you expect such a reaction to it?

Thanks for the love!

I really didn’t expect such a reaction to this song. Honestly, I didn’t expect to release this song at all. When I wrote it I just wanted to hold onto it because I wasn’t sure how it would be received.

It’s so in-your-face that my initial thought was that I would just keep it for myself - or maybe a future project. When people started to react to it I was blown away by all the positive vibes. The consistent phrase everyone says when they hear it is “Let’s hear that one again!”

What inspired the song and its themes? Was there a sweetheart or particular person that influenced it?

I wrote the song in a day and walked into the studio intending to write a love song with some ‘balls’ - from a modern woman’s point of view. I feel I accomplished that. There was a particular person that influenced my need to write something like this. Let’s just say I needed to know where I stood in the relationship and wanted this particular person to know I was ready to be their ‘franchise player’ (L.o.L.)

[soundcloud url="https://api.soundcloud.com/tracks/287520061" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

The song has been remixed by Grime producer S-X and M.C. Ms. Banks. How did you meet them and what was the reason behind remixing Love B.P.M.?

My team and I discussed different types of remixes we could do for this song and the idea  presented was to do a Grime remix. I thought it was a great idea but said the caveat was that I wanted to have a female M.C. on the track. I call this version my homage to London - I love this city! S-X was attached to the remix straight-away and then Ms. Banks’ name came up (whom I loved instantly). It was a pretty instant click for the three of us. They’re both lovely and so talented (at what they each brought to the track). It was an instant classic for me as soon as I heard the mix.

You are working with U.K. talent, evidently. Is Britain a place you feel happy in and can we expect to see you tour this year (in the U.K.)?

I’m very happy here in London. Everyone has been so warm and receptive to me - it’s really a terrific feeling.

I’m definitely planning on touring the U.K. in early-2017. I jokingly have been referring to it as the ‘Heart-Breaker Tour’ because all the guys I’ve been meeting here have heard Love B.P.M. and say they’re going to be super-nice to me because they don’t want their hearts broken. It’s such a funny thing to me!

It may be a hard question but do you think black artists do not get equal opportunities and have to fight harder for recognition in the music scene?

This controversial question but I have to be honest here and say we don’t always get equal opportunities. It’s unfortunate and I think it goes beyond just skin color. I think equal opportunities are an issue if you’re a woman as well. We all fight hard to have a place and make our mark in the music scene. This industry isn’t for the faint at heart or the weak-skinned.

We all fight for different things but as black artists and women I feel what we fight for is telling our stories the way we want them to be told - and not what major media wants us to perpetuate.

We all have different stories and backgrounds but often (times) black artists get ‘pigeon-holed’ or placed in a box and told they have to make 'black music' or they won’t be successful. But what the hell is ‘black music’ anyway?! We all make MUSIC and art. And it ALL sells. It shouldn’t have color attached to it in my opinion because anyone can relate to the themes in music. That’s what makes music such a profound means of connecting us all.

It is certainly true female artists are expected to be less talent and capable of their male counterparts. Do you think there is sexism in the industry and have you had to fight prejudice?

The music industry is very reflective of how the world is right now in terms of the dynamic between men and women. Women are demanding a place at the boardroom table selling out STADIUMS: managing empires and doing it just as big as our male counterparts. We are just as talented and capable but have to work harder and raise our voices louder just to be heard.

Things are changing for us and the industry is starting to open up more opportunities but only because we are demanding it. Yes, there’s sexism in this industry and yes, I still have to fight prejudices because I don’t have a d*ck between my legs; but that’s par for the course when you have a brain and you’re a woman.

The Pledge is your debut E.P. What can we expect to find in the E.P. and what type of themes are explored?

Yes it is :) You can expect to find the beginning of a journey I want people to take with me (especially women). It’s an empowerment E.P. that celebrates womanhood, wearing your heart on your sleeve; owning your happiness and the need to have a voice.

I have a lot of love for Oakland musicians. Do you think the city gets overlook when compared with Los Angeles, perhaps?

Yay! I’m glad you have love for us.

Oakland is a great city and has a long history of exceptional talent in so many things including music.

It usually doesn’t get compared to Los Angeles because, well, it’s Los Angeles - the entertainment capital of the world! Oakland has its own vibe and we kind of enjoy being California’s best-kept little secret ;-)

 

Are there any Oakland artists you recommend we check out?

I’ve got a whole list! But I’d say besides checking out my music until your ears bleed you should check out: Kehlani, Goapele; Keak da Sneak and G-Easy to name a few.

In terms of the coming months and into 2017: what can we expect in terms of music and developments?

You can expect another single from The Pledge and a mixtape headed into 2017. I’m planning to tour in 2017 as well as dropping the second installment to The Pledge - called The Turn. I’ve also got some really cool collaborations in the works with more U.K. artists so busy, busy, busy 2017 for yours truly.

Looking ahead to the next few months: any new material being worked on or is it going to be touring and a bit of down-time?

I don’t have an ‘off’-switch these days so not a whole lot of down-time planned for me.

I’m in the studio finishing up recording for the mixtape and The Turn whilst getting in tour rehearsals with my D.J. and choreographer. I’ve got a busy group of ladies around me :)

 

If you had to be stranded to name the three albums that have defined you as a woman and musician, which would they be and why?

Janet Jackson -  Janet (the beginning of Janet owning her sexual liberation… and that album cover! O.M.G.)

Esthero - Wikked Lil Grrrls (a Jazz album wrapped in good ‘ol Pop/R&B/Hip-Hop - doesn’t get much better than this underrated album)

Lauryn Hill- The Miseducation of Lauryn Hill (Life-changing on so many levels and proof you can be a dope singer and M.C. simultaneously)

For those new artists looking to follow you into music: what advice and tips would you offer them?

1. Follow your gut! If it feels right, it probably is.

2. You can’t do everything great so hire people that have an expertise in the things you don’t - so that the team you’ve built around you helps support your career goals.

Finally, and for being a good sport, you can select any song (other than your own as I’ll include one) and I’ll play it here…

SPZRKT & Sango - Soon Enough (my jam right now!)

[youtube https://www.youtube.com/watch?v=QFoID2JbOco&w=560&h=315]

________________________

Follow Blayre Mic

 

Official:

http://blayremic.com/

Twitter:

https://twitter.com/blayremic?lang=hi

Instagram:

https://www.instagram.com/Blayremic/

SoundCloud:

https://soundcloud.com/Blayremic

YouTube:

https://www.youtube.com/user/BlayreMic

INTERVIEW: Amber Richmond

INTERVIEW:

 

Amber Richmond

___________________________

IT is pretty damn hard pinning your hopes on a young artist….

as the pressures of music and changing times can render their early promise immaterial. So many find the pressure unnerving and try too hard to fit into commercial moulds. One thing you can say about Surrey-based musician Amber Richmond is she has a very promising future. Having just played the first-ever Always the Sun festival this year – set-up and run by local venue, Boileroom – there is something special about the sixteen-year-old. Richmond is masterful when covering contemporary songs but has shown a real knack for original, engaging songwriting. Her E.P., Fifteen, was a collection of songs written when Richmond was thirteen/fourteen – the same teenage songwriting talent the likes of Kate Bush showed on The Kick Inside. If not the sonic equal of Bush;there is a comparable sense of beauty, intimacy and ability. Richmond is down-to-earth and honest but has definite ambitions and goals. One feels her music will not be kept local for too long. Following on from her Always the Sun appearance – new dates lined up and fresh recordings planned – Richmond afforded me some time to talk about her childhood idols and what music means to her; how important Boileroom is and what advice she would offer similar young artists coming through.

______________________________

[youtube https://www.youtube.com/watch?v=UUC-ty3JjSg&w=560&h=315]

Hey Amber. How has your week been? What have you been getting up to?

I've been practising with my drummer as we are going to record on Tuesday.

For those who are new to your work: can you introduce yourself to us, please?

I'm Amber Richmond: a sixteen-year-old singer-songwriter

You have recently played at Always the Sun festival. How did you become involved with that and what was the day like for you?

It was really enjoyable. I had the first slot.

I was asked to do it as I'm part of the Boileroom's project. The weather was horrible but didn't stop it being fun.

Has that experience (at Always the Sun) got you thinking about future festivals? Will you be touring a lot in the next few months?

I have a project gig at the Boileroom on the 25th.

You have also played Boileroom – one of the most notable live venues in Surrey. I can imagine the crowds there are something else. Is that a venue you have a particular bond with?

It's my favourite place to play new material at. All of my songs have been tried out first at the Boileroom - I did my work experience there and know the staff well and love the atmosphere.

I have been listening to cover versions uploaded on your YouTube channel. You have a talent for reinterpretation and affinity for various styles of music. Which artist/song has been the most memorable covering and can we expect any new covers in the coming months?

My favourite cover is Toxic as it’s a really well-known song yet it sounds like a very different version. I'm working on a cover of Honey by Swim Deep at the moment - should be on SoundCloud in the next few weeks.

[soundcloud url="https://api.soundcloud.com/tracks/271103361" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Fifteen is your previous E.P. and was well-received on social media. Are you surprised by the reaction in garnered and how do you think you have changed as an artist since it was released?

I was surprised as I wrote those songs when I was thirteen/fourteen. The E.P. itself is acoustic and I have definitely changed since then as my music is more Indie-Rock now that I have a drummer (Ben Keynes).

Can we expect a new E.P. this/next year from you?

I'm currently in the studio recording three of my new songs which I hope to release.

[soundcloud url="https://api.soundcloud.com/tracks/230190822" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

You are based in Surrey but have performed further afield. What have been the most memorable gigs over the last few years? Any bad ones in there or have they been predominantly positive?

I loved doing the Guildford Lights as it was really cool to play on a balcony in front of so many. You always get some bad gigs but it's experience (in the end) and will definitely help.

Take me back to your early childhood. Who were the musicians you grew up listening to you? Was your household a particularly musical one?

My mum loved U2 and Simple Minds. I grew up listening to them and still do.

My earlier music is inspired by Daughter and Lucy Rose.

I ask this of many of my female interviews: do you think women have to work harder to gain recognition? Is there still an imbalance in music that needs redressing?

Not really. I feel like I have an equal chance to make it (as if I was) in a man’s would.

If you had to narrow down to a few albums that have been influential to you: which would they be and why?

If You Leave by Daughter - as I have always aspired to make my music as beautiful as hers. The 1975 by the 1975; Long Way Down by Tom Odell - because he manages to create such amazing music on a piano. Tell Me It’s Real by Seafret - because their music means so much to me and inspired me to write new songs.

Music means a lot of different things to different people. What does it mean to you, personally?

Being honest: I never stop listening to music. It's like a life support.

I listen when I'm sad; I listen when I'm chilling and when I want to party. It expresses the artist’s emotions and that can then be shared with the listener.

Which underground/new artists would you recommend we check out and investigate?

Sophie and the Giants. Known her for a few years now and she just keeps getting better.

For those young artists looking to follow you into music: what advice and tips would you offer them?

Just keep writing. Being able to write good songs will separate you from other musicians and make you stand out.

Also... gig as much as possible.

Finally, and for being good sports, you can select any song (other than your own as I’ll include one) and I’ll play it here…

Mumma by Spring King

[soundcloud url="https://api.soundcloud.com/tracks/129048829" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

BOILEROOM PHOTO CREDITS: Thomas Brooker

________________________

Follow Amber Richmond

 

Twitter:

https://twitter.com/amberichmond

SoundCloud:

https://soundcloud.com/amberichmond

YouTube:

https://www.youtube.com/channel/UCFISfcGseUs3jy_k3g6RGhw

INTERVIEW: Lydia Baylis

INTERVIEW:

Lydia Baylis

________________________

THINKING back at all the favourite musicians that have featured on my blog…

and Lydia Baylis will always be near the top. She is a young artist that impresses me immensely. Able to seduce and enchant crowds in a coffee-house setting or impress with cinematic, dramatic music videos – someone who is capable of drawing you in and capturing the heart. Not only are her lyrics revealing, open and intelligent: Baylis has a voice at once sensual and inviting; hurt and affected the next. Previous singles Into the Water and Mirrors rank alongside by favourite songs by any new artist. It has been exciting catching up with Baylis and asking about her future – whether we will see a new E.P. arriving. She is heading to play New York’s Pianos later this month and is excited about the coming months. Baylis talks her about the importance of her family (to her music) and how she unwinds away from music.

______________________

[youtube https://www.youtube.com/watch?v=fpa7ABHyk_c&w=560&h=315]

For those who are new to your work: can you introduce yourself to us?

I am a singer-songwriter working and performing in London.

I see you are playing Pianos in New York (on 25th). Are you excited about this and is this your first time in New York?

It is my third time performing there - I am REALLY excited! I love New York and Pianos is a great venue!

PHOTO CREDIT: Patrick Ford and Jenni Davis

In terms of America as a future possibility: could you see yourself moving there or are you pretty settled in the U.K.?

I would love to move to America one day. I would love to live in L.A. for a bit. Any change of scene I think is good creatively for artists.

[youtube https://www.youtube.com/watch?v=ylvv0s3qsRc&w=560&h=315]

The last time I featured you on my blog, you were performing a series of gigs at coffee houses around the country. What was that experience like and can you see yourself doing it again in the future?

It was fun. Travelling is one of the best bits of this job.

I like being on the road and meeting the challenges of doing a difference venue, even two, every day.

[youtube https://www.youtube.com/watch?v=KBVyoxoJxoU&w=560&h=315]

You have a fascinating family – Lydia’s grandfathers both helped drive the Germans out of Brussels during World War II – and have strong Welsh roots. How important were you family with regards your career in music?

They were, and still are, so important.

My parents are my greatest supporters and brought us all up to follow our dreams.

Having studied at Oxford – and returned there to perform - do you get a chance to revisit your alma mater and family? I imagine the demands of music keep you pretty busy?

Music does keep me very busy but Oxford has a very special place in my heart (and I love to go back).

[soundcloud url="https://api.soundcloud.com/tracks/86926808" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Into the Water is my favourite song of yours. Can you remember what inspired the song? I see new cuts Anyway and You Don’t Love are available. What is the inspiration behind the two songs? Have you been putting them into recent live performances?

I love Into the Water too. It was inspired in part by Virginia Woolf (who drowned herself with stones in her pockets), but more figuratively, feeling (in life) like you are drowning sometimes - and that it might be you dragging yourself down.

Anyway and You Don’t Love are about the same period in my life: being unsure about someone and how they made me feel.

Can we expect a new Lydia Baylis E.P. or album in the near future?

Yes! I have been working on it for a long time and I think that I am nearly ready.

I know Joni Mitchell and Stevie Nicks are big influences of yours. What is it about those singers that attract you? Which other vocalists/musicians have inspired you?

Both of those women are irreverent in some way - they might not vocally be perfect but the attitude with which they perform and write is so real and soul-baring.

In terms of the albums that have meant the most to you: which three would you rank as the most important?

Astral Weeks  by Van Morrison; Lungs by Florence and the Machine and Rumours by Fleetwood Mac

How do you spend your time away from music? Do you get time to unwind or is it hard finding moments to disengage?

I love travelling, dancing and reading - but music is a constant companion.

[soundcloud url="https://api.soundcloud.com/tracks/265848495" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Are there any new musicians/underground musicians you suggest we check out?

Equador are awesome.

What advice would you give to any upcoming musicians looking to follow in your footsteps?

Do it because you love making music, not if you want to be famous.

Finally, and for being a good sport, you can select any song (other than your own as I’ll include one) and I’ll play it here…

You Only Live Once by the Strokes - there is not a problem that song cannot fix.

[youtube https://www.youtube.com/watch?v=pT68FS3YbQ4&w=560&h=315]

________________________

Follow Lydia Baylis

 

PHOTO CREDIT: Brad Inglis (UBPICS)

Official:

https://lydiabaylis.com/

Facebook:

https://www.facebook.com/lydiabaylis/?fref=ts

Twitter:

https://twitter.com/lydiabaylis

Instagram:

https://www.instagram.com/lydia.baylis/

SoundCloud:

https://soundcloud.com/lydiabaylis

YouTube:

https://www.youtube.com/channel/UCUvsl2a3LnrjN4BwenA1eHQ

INTERVIEW: MAR I AM

INTERVIEW:

 

PHOTO CREDIT: CK Goldiing

MAR I AM

_________________________

FOR a while I have been looking to interview a musician that has a real history…

and sense of originality about them. The interviewees I have covered are wonderful but MAR I AM is something special. The London-based artist combines sweet vocals with soulful allure: Pop and Alternative blends that fill the ears and sit alongside thought-provoking lyrics. A natural storyteller whose Nigerian roots go directly into her music: there are not many out there like her! Growing up to rhythmic drums and a community strong of family values: this upbringing compelled MAR I AM to enter music and share her stories with the public. Heart to Heart is an E.P. that will captivate and capture hearts; highlight a distinct and promising musician and give the music world something rather wonderful. Be There for Me has made its way into the world and being celebrated with glowing reviews and paens of affection. I got the chance to chat with MAR I AM and talk about her Nigerian upbringing; how songs come to her and what we can expect from her E.P.

_____________________________

Hey MAR I AM. How has your week been? What have you been getting up to?

Hey! It’s been good thank you: very busy with work and preparing for my E.P. launch in just a few weeks. I’m very excited but there is a lot to be done.

For those who are new to your work: can you introduce yourself to us?

Well. I’m a singer-songwriter and self-taught guitarist. I am a south Londoner who loves to tell stories through music.

You are based in London. What is life like there for a musician and how does it inspire you as a writer?

London is great for musicians: there is so much music happening here; there is always a great music night and amazing artists; very easy to get inspired by the different sounds you hear and art being made.

I am also inspired by life and people: so much happens in London that it is nice to sit back and take it all in. A lot of my songs come from just watching life.

[soundcloud url="https://api.soundcloud.com/tracks/278255185" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Be There for Me is your debut single. What was the inspiration behind it and are you excited now that it is completed and done?

Very excited! It’s so good to be able to see work finished and be able to share it. It was inspired by difficult friendships and life changes. I wrote it together with the producer I worked with on the E.P. (Feranmi Oguns) and it’s about those hard moments with people when you feel like there is no reciprocity. You feel like you’re giving a lot but not getting anything in return  and expressing how you really feel when that happens. You feel hurt, and in your heart, you want that person to know it. Songwriting is a difficult task at times. It’s a skill to be able to divulge the matters of the heart in only three minutes but working with such an amazing team at OL Music (Fez and Rohan) made it easier and fun.

The E.P. Heart to Heart is out on 4^th November. What can you tell us about the themes and songs that will be included?

Yes it is and I can’t wait to share it! Again, the title is called Heart to Heart and that is the theme: a conversation of love, growth and those defining moments in life where the emotion is real and there is no hiding. There is a song called Without You which is about feeling the pressure of life and realising you need help. There is a song like Grow where you are feeling on top of the world and ready to grow. The last song, Running, is an unfolding story and ends the E.P. very raw and dramatic but there is something for everyone - they are themes that everyone can relate to so you’re in for a real treat and I hope you enjoy it.

Your lyrics are insightful and you effortlessly blend catchy melodies into your music. Who were the artists and musicians that influenced that?

Ah, well, thank you. There are so many: I just love music. Ones I can think of now are Stevie wonder. He is so amazing to me both his musicianship and writing; his play on words have always inspired me. Lauryn Hill is incredible. Asa, Joni Mitchell; Bill Withers, Gospel music as a whole… the list goes on.

 

Having Nigerian roots; do you think that is important with regards your unique sound? Do you have many opportunities to visit Nigeria?

Yes, it is definitely important because it is a part of who I am and that is what makes my sound. I love my culture and it is what first introduced me to music - especially live musicianship and the art of storytelling.

I was there just last year enjoying the sun so hopefully, I’ll be back there soon - especially as it’s getting cold here.

Were you into music and poetry at a young age and was there a figure/person that sparked your love of words and music?

Yes, as young as I can remember I started writing poetry and stories (when I was like seven-years-old). I would draw a picture and write a story to it. It’s hard to say one person:

I (just) always loved reading stories in school at story time; seeing live music and dancing away to Michael Jackson. As a young girl, I (just) sat back and took it all in and just continued to write as a way of expressing myself.

It was 2011 you decided to go into music – joining the London Community Gospel Choir. What compelled that decision at the time?

Well, I joined the London Community Gospel Choir last year. In 2011, I was just playing my guitar and a song began to come to me. When I finished, it I just felt like I wanted to share it so I did: I was so nervous but it was something I always wanted to do (but was afraid to do). That year, I felt like life hit a brick wall, but out of that hard time, I began to dream again. I had friends who were singing already and I started supporting them - through backing vocals - and when I felt ready to do it full-time I joined the choir who are amazingly talented and professional.

 [soundcloud url="https://api.soundcloud.com/tracks/192162764" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

It might seem like a cliché question but how do songs come together? Do you need to get into a headspace or set time aside for writing?

It’s always a good question because no-one really knows. It varies. Some days, songs just fall from Heaven; other days you get a lyric stirring or a melody and you got to sit with it and fish it out. There are times when you need to be in a headspace - especially when it takes a while to come together. Other days, you have to just let it go and wait for it to come when it is ready. It is such an interesting process and very exciting when you feel something brewing.

Music is quite a challenging industry and demands hard work and perseverance. Have you had many obstacles to overcome so far and how do you disconnect from music and detach from it?

Loads! Too many to name. I think that the biggest obstacles are from yourself: believing in your craft and songs is the first obstacle. You can’t keep going if you are not content with you because it is hard; you are vulnerable so you have to be ok with the rejections - with people not liking your music or not supporting at times. You have to keep going. I take myself away to just refresh so mini-breaks are good to just process and enjoy life. It helps me to get back to doing what I love: singing and writing. If not, it will always feel like work, and it is a lot of work. You have to persevere but enjoy it too.

You have already – before your debut single came out – achieved and seen a lot. As a young musician; what have been your proudest memories to date?

One of my proudest moments was putting on a music-night for a charity I was working with called United for Change (that was raising money for a school in Nairobi, Kenya).

I was commissioned to write songs for it and perform them with a fellow artist - it was my first time organising an event and it was such a successful night (we raised over £800 for charity work in Kenya). I was happy to make music for such a special cause and get the chance to go to Kenya and see it - a fond memory of mine.

 

PHOTO CREDIT: CK Goldiing

Being in London, you must play a lot of gigs and see a lot of new talent come through. Any other names we should check out and follow?

Yes, there is so many I know. Some fantastic artists off the top of my head: I would say check out Lánre, Bianca Rose; Kacey Chambers, Abimaro; Santino, Alice Watts; Mike Kayihura and the amazing Samm Henshaw. There are loads more and these artists are awesome.

What are your plans heading into 2017? What do you hope to achieve in the year coming?

Lots of plans.

I’ve already starting planning for after my E.P. launch so keep an eye out for more music.

Of course, live performances (will follow) as it’s been a while and a music video or two. Very excited about the plans I have to share.

For those young bands looking to follow you into music: what advice and tips would you offer them?

Don’t stop. It is all in the process: you learn as you go, and as you go, you grow (that’s a good Tweet!).

Enjoy your journey and know that you have what it takes and you have a story to be told.

Finally, and for being a good sport, you can select any song (other than your own as I’ll include one) and I’ll play it here…

Well, thank you, loads. It will have to be a song I’m loving at the moment: Cranes in the Sky by Solange. Thank you so much!

[youtube https://www.youtube.com/watch?v=S0qrinhNnOM&w=560&h=315]

________________________

Follow MAR I AM

 PHOTO CREDIT: CK Goldiing

Official:

http://www.marisongs.org/

Facebook:

https://www.facebook.com/MariSongs

Twitter:

https://twitter.com/MariSongs

SoundCloud:

https://soundcloud.com/mari_songs

Instagram:

https://www.instagram.com/ma.r.i.am/

FEATURE: 1979

FEATURE:

 

 

1979

_______________________

COMPELLED by a recent celebration/day of 1979-based music…

across B.B.C. radio – it got me thinking about all the terrific music that emanated from that three-hundred-and-sixty-five days. I feel we all have that one year that stands in the mind as being exemplary and fine. As someone born in the 1980s; I was growing up in the ‘90s (I was born in 1983) and the terrific music that emerged then. I feel 1994 is the finest year for music – if you look at all the albums that came out then – but 1991 is also incredibly full and wonderful. I had forgotten about the range and variation of albums that was brought to the music world in 1979. In honour of that: I choose a track from the twenty-five best albums of the year.

_________________________

Talking Heads - I Zimbra (Fear of Music, 3^rd August)

[youtube https://www.youtube.com/watch?v=b-RDJ4Z4XrQ&w=560&h=315]

Joy Division – Shadowplay (Unknown Pleasures, 15^th June)

[youtube https://www.youtube.com/watch?v=juD4ayBbHdY&w=560&h=315]

Public Image Ltd. – Swan Lake (Metal Box, 23^rd November)

[youtube https://www.youtube.com/watch?v=6GwrRGxYmY8&w=560&h=315]

Elvis Costello and the Attractions – Oliver’s Army (Armed Forces, 5^th January)

[youtube https://www.youtube.com/watch?v=LrjHz5hrupA&w=560&h=315]

XTC – Making Plans for Nigel (Drums and Wires, 17^th August)

[youtube https://www.youtube.com/watch?v=s29RKnB7l7o&w=560&h=315]

The Jam – The Eton Riffles (Setting Sons, 16^th November)

[youtube https://www.youtube.com/watch?v=wJRmrlkYdsQ&w=560&h=315]

Tom Petty and the Heartbreakers – Here Comes My Girl (Damn the Torpedoes, 19^th October)

[youtube https://www.youtube.com/watch?v=n4nPa35CZPI&w=560&h=315]

Fleetwood Mac – Tusk (Tusk, 12^th October)

[youtube https://www.youtube.com/watch?v=InjF8xj93LU&w=560&h=315]

Gang of Four – Damaged Goods (Entertainment!, 25^th September)

[youtube https://www.youtube.com/watch?v=byCqOvRMOvo&w=560&h=315]

The Clash – Spanish Bombs (London Calling, 14^th December)

[youtube https://www.youtube.com/watch?v=ertt3o1x65c&w=560&h=315]

The Specials –  A Message to You Rudy (The Specials, 19^th October)

[youtube https://www.youtube.com/watch?v=cntvEDbagAw&w=560&h=315]

Chic – Good Times (Risqué, 30^th July)

[youtube https://www.youtube.com/watch?v=eKl6EZShaaw&w=560&h=315]

Pink Floyd – Another Brick in the Wall (Part II) (The Wall, 30^th November)

[youtube https://www.youtube.com/watch?v=HrxX9TBj2zY&w=560&h=315]

Led Zeppelin – In the Evening (In Through the Out Door, 15^th August)

[youtube https://www.youtube.com/watch?v=afEipftwkn4&w=560&h=315]

Donna Summer – Hot Stuff (Bad Girls, 25^th April)

[youtube https://www.youtube.com/watch?v=1IdEhvuNxV8&w=560&h=315]

The Undertones – Here Comes the Summer (The Undertones, 13^th May)

[youtube https://www.youtube.com/watch?v=31Dza1L8daA&w=560&h=315]

The Slits – Shoplifting (Cut, 7^th September)

[youtube https://www.youtube.com/watch?v=Xz6EZlGMxXY&w=560&h=315]

The B-52’s – Rock Lobster  (The B-52’s, 6^th July)

[youtube https://www.youtube.com/watch?v=aepSPpU4S2o&w=560&h=315]

Buzzcocks – Ever Fallen in Love (With Someone You Shouldn’t’ve) (Singles Going Steady, 25^th September)

[youtube https://www.youtube.com/watch?v=WPG6Ak5FASk&w=560&h=315]

Michael Jackson – Don’t Stop ‘Til You Get Enough (Off the Wall, 10^th August)

[youtube https://www.youtube.com/watch?v=yURRmWtbTbo&w=560&h=315]

ABBA – As Good as New (Voulez-Vous, 23^rd April)

[youtube https://www.youtube.com/watch?v=xxv2vF9S0bY&w=560&h=315]

AC/DC – Highway to Hell (Highway to Hell, 27^th July)

[youtube https://www.youtube.com/watch?v=k_jCu_u28Ig&w=560&h=315]

David Bowie – Boys Keep Swinging (Lodger, 18^th May)

[youtube https://www.youtube.com/watch?v=UMhFyWEMlD4&w=560&h=315]

Neil Young & Crazy Horse – Hey Hey, My My (Into the Black) (Rust Never Sleeps, 27^th August)

[youtube https://www.youtube.com/watch?v=GQhEvfeJocM&w=560&h=315]

Earth, Wind & Fire – Boogie Wonderland (I Am, 9^th June)

[youtube https://www.youtube.com/watch?v=god7hAPv8f0&w=560&h=315]

Standout Album:

Talking Heads - Fear of Music

TRACK REVIEW: We Are the Catalyst - Open Door

TRACK REVIEW:

 

We Are the Catalyst

 

 

Open Door

9.2/10

Open Door is available at:

https://www.youtube.com/watch?v=hYGef7am2Ig

RELEASED: 14^th April, 2016

GENRES: Alternative-Metal

ORIGIN:

Varberg/Gothenburg, Sweden

The album, Elevation, is available here:

https://watcofficial.bandcamp.com/album/elevation

____________________________

BREAKING out of London for a day: it is nice going back to...

Sweden and a band that are picking up a lot of acclaim and celebration. Thinking about them compels me to look at Swedish music; the themes and ideals behind Alternative-Metal and themes and compositions in music. Before introducing the band themselves; it is worth looking at Sweden as a centre for musical excellence. It was only yesterday – the band might cringe at this – I was extolling the virtues of ABBA’s knack for harmonies and insatiable chorus lines. The legendary band were derided by some – too cheesy and slight to appeal or gain credibility – but you cannot deny some of their songs are quite masterful. That thought has prompted me to dig deeper into Sweden and the musicians that have emerged from there. When we think of nations like Sweden (and Scandinavian countries) we all have ideas of what the local bands will sound like. Iceland and Norway are seen as quite gentle and atmospheric with regards their landscape – if you consider the Black-Metal bands from the latter and the Experimental-Pop/Björk-type musicians of Iceland, then you have a clear juxtaposition. It has been a while since I last reviewed a Swedish band – cannot remember the last I came across – so it is wonderful being back in the country. Last year, local sources in Sweden were tipping the bands they thought were going to be a big proposition this year. Among the acts tipped were Stockholm’s very own Pinemen. Pop and Surf-Rock define their sound and have captured the imagination of the nation’s press. Throw in Tussilago – widescreen, atmospheric Indie-Pop sounds define who they are – and you have a band that are capable of gaining recognition in the U.K. and U.S. Maja Francis is a glitter-filled, colourful star who pens spacey, sugar-sweet Pop songs with enough directness and relatability to hook people in – songs that address serious subjects and personal insights. Toxe is as promising as her female counterpart but her music puts hard beats and juddering snatches together with ice-cool Electronic sway.

Maybe a contradiction to Maja Francis: someone who is making headway and another star of the future, one feels. Female duo Pale Honey were tipped – this list came from Ja Ja Ja – and, although not reinventing the wheel with their music, have a strong set of songs and a chemistry that has seen them getting into the thoughts of critics and tastemakers in Sweden. I wanted to bring this point in because it dispels clichés and stereotypes we have of Sweden. You have seen, with that list of five acts, that there is as much variation and variegation as there is in Britain. We all get hooked in our own expectations and what a nation’s musicians will sound like. Sweden is a country that has so many fantastic artists around and we should not assume they are limited to certain centres and themes. Maybe we associate Sweden with the heavier side of the spectrum – Black-Metal, Alternative and various forms of Metal and Hardcore – but the same could be said of Norway. That is another country that has rafts of wonderful Pop acts and Indie players; wonderful solo artists and a full, busy scene. Sweden is a nation that has given fantastic acts like The Cardigans – one of the most innovative acts to emerge in the ‘90s – and current artists Lykke Li and Say Lou Lou (half-Australian, half-Swedish) are just two examples. If you dig deeper, there is so much potential and richness waiting to be discovered. It is worth taking time away from nations like the U.S. and U.K. – when it comes to music – and giving countries like Sweden more consideration.

I was keen to review We Are the Catalyst – and the standout song from their latest album – as they, in a way, fall into stereotypes we have of ‘Swedish sounds’ but are much deeper and impressive than many would give them credit. Before I come to that point, let me introduce the band to you:

Cat Fey (vocals)

Kenny Boufadene (guitar / vocals)

Håkan Strind (drums)

Joni Kaartinen (bass)

Swedish Alternative Metal band 'We Are The Catalyst' and their new album 'Elevation' are most definitely set to stun the industry on the 2nd of September. The most striking elements of the album are, first and foremost, Cat Fey's immense voice that is supported by one of the thickest and heaviest guitar sounds you will ever hear. The combination of these and the overall mixing across the album creates a hugely empowering aura with a gravitas paralleled by none. It is clearly a fitting follow up to the bands first album Monuments; released in 2014.

'Elevation' covers themes ranging from depression, personal strife, world conflict and helping to see the glimmer of light in the dark, perfectly in support of their name: "'We Are The Catalyst' is meant as encouragement to overcome and challenge the darker parts of ourselves and others, to invite the listeners to keep fighting in a rough and dark world, and try to encourage them to be their best self, even when it might seem hopeless."

The first single “Open Door” is a worthy and powerful successor to the bands previous chart success which they scored with a cover of Swedish House Mafia’s “Don’t You Worry Child” which the band released in aid of The Fostering Network.

 

Everything about We Are The Catalyst screams uniqueness. How many bands are so driven that their second ever show ends up being performed on the other side of the planet in Beijing China. Everything from their album production to video direction is done by the bands members themselves. The pinnacle of their combined love for music has to be that lead singer Cat and guitarist Kenny have a daughter together called Decibelle, who they raise in their hometown of Varberg, Sweden. 

The bands amazing rise and critical acclaim in the last 12 months alone have seen the stunning 4 piece We Are The Catalyst complete a 10 day tour of china playing various shows and festivals, playing Bloodstock alongside bands such as Trivium, Sabaton and Within Temptation. The band also had their first UK headline tour following a support slot for Delain. Adding to their early and extremely impressive accolades they performed at Planet Rockstock as well as The Darkness and FM and Rival Sons where WATC headlined the second stage on the Saturday evening.

I mention Sweden is synonymous for bands that play tougher, accelerated music. I am not a huge fan of Thrash-Metal and find (it is a genre) that is reserved for dedicated fans and the patient. We Are the Catalyst are a group that has plenty of accessibility, melody and maturity to their music. Alternative-Metal and Rock seem to go hand-in-hand and explore many of the same themes. I have been impressed by the rise and proffering of We Are the Catalyst as they continue to climb and impress. You might see them on paper and think they are quite a scary and snarling band – one that might be all noise and no sense of depth and likeability. That would be short-sighted and something many might be doing. The fact their second-ever show was performed in China – and they have supported some true heavyweights – lets yu know they are no average band. The guys have released Elevation and the album is gaining a lot of headway and applause from music critics. It is no surprise when you consider the components and chemistry that runs right through it. Astonishing, passionate vocals and tight songs that get straight into the head; consistently memorable compositions and songs that motivate you to get up and move – small wonder they are gaining respect from countries around the world. Before I move on, it is worth noting, with regards bands like We Are the Catalyst, those wall-of-sound guitars and scintillating vocals are two elements that, in lesser hands, could be put together clumsily and with little harmony. This is just one side of the Swedish band and there is so much to recommend about them. The instrumentation alone gets so much attention from reviewers who note the band’s exceptional, tight performances and inventive riffs give their songs plenty of meat, emotion and drama. Throw in consistently gripping vocals and lyrics that prompt the listener to think and reflect – a solid band that addresses every facet and side with aplomb and attack. There are not many bands that cover the spread like that and really dig deep. I have been looking at a range of bands the last few weeks and there are few that have the solidity and nuance of the Swedish Alternative-Metal band. We do not often – when looking at Swedish music – go beyond Stockholm and the musicians coming from there. Let’s hope the likes of We Are the Catalyst we redress that imbalance and find curious fans areas like Varberg. The music world is huge and frightening but, if we become more adventurous and brave, the rewards are out there.

Elevation is the band’s latest album and one that has been widely celebrated. It has been two years since their L.P., Monuments, which led many to fear the band was on hiatus or perhaps struggling to muster new material. Monuments was a fourteen-track album that showed We Are the Catalyst were one of the most exciting propositions in new music and they proved this in every track. The ensuring touring demands and need for breath means Elevation came to the public attention a couple of years down the line. It is understandable the Swedish band took a bit of time with their new album and was not just going to rush-release a new record. Having toured extensively and honed their skills: one sees development and change in Elevation. The album is a bit tighter (fewer tracks) and the guys seem tighter and more focused on this effort. Whereas I feel Monuments has its moments and is consistently strong: there are some loose edges and some of the songs pass by without sticking in the memory. Everything si sharper and more defined on Elevation. The songs are more consistent and nuanced whereas the compositions more dramatic, tough and varied. Rather than repeat themselves – which many bands would do after a successful album – they have regrouped and bring new elements into their current work. Throughout Elevation, you get a sense of a band that is never willing to stand still and just replicate what they have already done. The album shows the band in top form and at their most inspired and together. This rings true of the lyrics that are more repeatable, quotable and deep – more intelligent and accomplished – than ever. Open Door is a song that perfectly emphasises this new talent and growth: from the opening bars to the dying seconds; one feels the sense of a band that are really creating their finest material and discovering new areas to explore.

The opening seconds of Open Door see the band come together and whip of a furious, if tempered, sense of impending force and explosion. There is plenty of flurry and rain-storm in the guitars which mix lighter strings with toothy undertones. The percussion rolls and rumbles: not only forming an animalistic sense of attack but creating melody and story into the bargain – the bass keeps everything sturdy but has enough bounce and cut to add its own elements into the fore. All of this together gets the listener primed early and eager to hear what is to come. We Are the Catalyst are experts at creating these instant, tight introductions that get you ready and hungry. Never too forceful or intense in these early moments: it is the perfect canvas the band works from; where the vocals come in. Fey’s voice comes in and adds some emotion and heartache to proceedings. I use the word ‘emotion’ quite a bit with regards the band but never in a florid or wussy sense. They are always authoritative and steely but are wise enough to open themselves up and reveal some truth. The heroine has heard it say that a way will be found – forgive my clumsy syntax. It seems like there a passion and bond being assessed and distance between lovers. Maybe the story – as the song title suggests – finds the two distant but hopeful; there is always a chance things can be rekindled and get back to what they were. Fey elongates her vocals and creates something quite dramatic and semi-operatic in the opening stages. She does not go for an easy option and go in hard and spiteful – ensuring there is plenty of humanity, heart and soulfulness in her voice. Before you get settled and start to predict the story arc: the band sharpens and the strings and percussion come into focus. Edgier, lunging and pressing: it beckons a new phase and the chorus comes to reign. The fast-paced, exhilarating chorus finds the boys turn the volume up and perfectly conjure a storm – something they are masterful at. Fey lets it be known she is falling down; there is something afoot and a desperation that cannot be overlooked.

One is never completely sure whether it is just a single romance that is suffering or a message to the world. The song has such a widescreen sound and cinematic range that you could be looking at a universal sentiment – maybe addressing the state of the world and a political message put in there. Whilst keeping the lyrics oblique but focused: one feels that is a deliberate move by the band; ensuring the listener arrives at their own conclusion. What Open Door does is stretches the vocals and gives them room to breathe. In terms of lyrics, there is that balance of romantic possibilities and wider concerns. I get the impression the sweethearts are divided by more than geography. It seems, emotionally, they are in different places and perhaps too distinct and different to ever come back. The door is open but one feels it might be slammed shut. The emotion and hurt in Fey’s voice suggest someone that has overcome challenges and is fatigued by the pressures and struggles of love. In that same sense, you can also nod to political and social events unfolding – the lyrics can apply to the Government and their inadequacy; violence and hatred that have dominated the front pages. What Open Door does is perfectly balance a sharp and racing composition against a constantly romantic and impassioned vocal delivery. That is the We Are the Catalyst quiet-loud dynamic coming back in and at its finest. Comparisons have been made to Paramore and you can hear a little of that here – not as commercial and samey as them. I always find Paramore lack the variety and creative nimbleness their music deserves – always too primed for the charts and a little tame at times. We Are the Catalyst are an insatiable band that put memorability and singalong chorus together with beefy riffs and some incredible moments. Some of the riffs snake and howl from the speaker: arpeggios and fret-heavy work that gives the song oomph and blood-rush. The bass is always fluid, hard-working and leading – keeping the song together and pushing all the other elements on. Percussion-wise, you have enough smack, tremendous fills and energy to satisfy anyone.

Perhaps the chorus is the shining star and one that will get fans singing along and chorusing when performed live. One of the only detractions is the lyrics are a little sparse and repeated – it would have been nice hearing more verse and revelation. The song leaves mystery and questions (which can be good) but perhaps not quite as many original lines and plot progression as one would hope. In spite of this, it is the band’s cores and trademarks that see the song through and get it inside the head. A typically bold and impressive composition that is duplicated across Elevation – the Swedish Alternative-Metal band growing and pushing their sound to the limit. Things are never too ambushing and pouncing; always imbued with a sense of composure and sweetness. Fey’s voice is typically beautiful and strong and ensures the lyrics get into the heart and get you thinking. I have come to my own conclusions but one feels there is no overall truth or definition to the lyrics – perhaps a general song for lovers or a message to the world. Open Door finishes with softness and composure and brings things down. In every stage of the song, there is a lot to recommend and you are always hooked and involved. The band is masterful when it comes to crafting songs that draw you in and take you into their world. The highlight and most memorable song from Elevation: it is the fourth track of the album and ensures the first-half of the record impresses and resonates. Few will be able to listen to Open Door and not be affected by it. In sheer terms of power and prowess, it is one of the standout tracks of the year and perfectly defines the album as a whole. Let’s hope the band come to the U.K. and bring the song to the masses as it is sure to gain a lot of love and new support. One of the most promising and unique bands in Metal/Rock have shown just what a consistent and reliable force they are. Open Door not only brings all Elevation’s themes and sounds into one but is shows how they have evolved and developed since their earliest work – a group that is ready and able to take the mainstream by storm and put their marker down.

When it comes to reviewing Elevation – the album Open Door is taken from – reviewers have had the hardest job doing so. With regards to defining the band - labeling them (genre-wise) - there is a blend of Hardcore and Alternative-Metal; a bit of Rock and Metalcore. Delusion is the perfect opener and one that blows away cobwebs of expectation and doubt. Following a Morse Code red herring – perhaps a coded message to the enemy – the percussive thunder that sweeps in gets the feet moving and the body involuntarily involved. The band is all together and ensure there are layered guitars, cutting bass and precise, emotive vocals to cut through the mist. Hearing all the tough and granite instrumentation together and the effect is quite profound. It is the perfect representation of the album and a perfect opening salvo. The group nail the loud-quiet dynamic in song and ensure one moment is calm and restrained – before bursting out the gates and bucking like a rabid bull the next. Songs address dark themes and mortality – the state of the world and corruption – but never come off too suffocating and repressive. You are always involved with the music and embrace everything it has to offer. Since the band’s earliest work and previous cuts: they have come on a long way and become sharper, more ambitious and more exceptional as a band. Whilst never average of naïve on any of their early work: what we have now is the sound of a group that are ready for the arena stages and have that professional, inspirational sound. Many have claimed We Are the Catalyst are pioneering new Metal sounds and will inspire legions of bands in their wake. That is true as one does not hear too many Metal bands being highlighted in the media. Maybe that is because (many bands) possess little melodic hook and range – that all changes with We Are the Catalyst. The guys have plenty of terrific hooks and these run rampant throughout Elevation. For purists and those that like their Metal hard and sweaty – they are catered for and get ounces of fighting bass, volcanic guitars and ballistic percussive smash.

I will end things but assessing the album (briefly) and where the band might be headed – just recapping my earlier point. Elevation might have a simple and obvious title – used by a lot of bands including U2 – but that is where the simplicity ends. When you dig into the L.P., one finds Fey’s voice scratchy and intense right from the blocks in A Million Claws; Without Fear blends the sounds of Paramore with something a lot more intense and dirty. That is what you get with the album (and band). The twelve album tracks whizz by in a blur of force, intensity and passion but you are hooked enough to listen back and repeat the experience. When you do return, the nuance of the songs comes through and you discover new things. If it is not the powerhouse vocals that strike then the inventive compositions and tight riffs that will get you. If not that then the melodic sensibilities and vivid lyrics are sure to resonate. There is so much for everyone: the album is not for those who only listen to Metal; there are Pop, Rock and Indie strands one hears throughout Elevation. You cannot really distil the album into a single genre and sound. I would like to see We Are the Catalyst coming to the U.K. in 2017. I know there are venues and clubs throughout Britain that would house and welcome them. Whether Brighton’s Green Door Store or some of the more intimate spots in London – enough ammunition and appeal lies here. There are fans and new followers that would love to see them live and that is something to think about. They are a group that has a hefty reputation in Sweden and plenty of international fans. I know they have representation and P.R. bodies working and promoting them – one imagines a flurry of tour dates will unfold. I know there will be follow-up albums and E.P.s and it will be interesting seeing whether the band can translate into the mainstream.

I opened my mentioning how we are keen to label nations and assume we have their national music all nailed and figured out. If we come to Sweden then there is that assumption it is all going to be Death-Metal and harrowing noise. That is a discrimination that should be overturned as it is costing the nation a lot of appreciation and focus. The music press is still too keen to concentrate on U.S. and U.K. artists which mean a lot of other nations are not getting a look in. I have seen Swedish acts flee to London because they are not getting enough respect and column inches at home. I feel we should all be more open and investigative with regards other nations. If you are a fan of Metal (or not) then you cannot go wrong with We Are the Catalyst. The band is an exciting proposition and put Rock and Pop melody into their sounds without dampening the purity and intensity of their compositions. A lot of kudos has been paid to Fey’s vocals and that is quite right. She is one of the most exciting and electric performers around and has that wide-ranging voice that means the band can write whatever they damn well please – knowing she will own it and make it sound transcendent. Boufadene, Strind and Kaartinen are not half-bad either. An incredible backing and tremendous musical force – do not overlook their contributions. The entire band gel superbly and have been playing together long enough to really hit their stride – which they do throughout Elevation. It has been great coming back to Sweden and discovering a band that has a big and busy future ahead of them. ‘Catalyst’ is a word that means change; the band themselves want to change expectations and shake the scene up. As Open Door and Elevation has shown they can do this…

WITH ease and intensity.

[youtube https://www.youtube.com/watch?v=hYGef7am2Ig&w=560&h=315]

________________________________

Follow We Are the Catalyst

 

Official:

http://www.wearethecatalystofficial.com/

Facebook:

https://www.facebook.com/WATCofficial

Twitter:

https://twitter.com/officialWATC

SoundCloud:

https://soundcloud.com/watcofficial

YouTube:

https://www.youtube.com/user/WATCofficial

FEATURE: The October Playlist: Vol. 3

FEATURE:

 

The October Playlist: Vol. 3

______________________

I was overjoyed hearing the news of Bob Dylan’s (long-overdue)…

Nobel Prize win for his work and contribution to music. It has been an award he’s deserved for decades and shows just how vital his lyrics and poems are to the world. In honour of that, I have included a live performance of his. In addition, 1979 was being celebrated across the B.B.C. so I have put in a cut from The Clash’s London Calling and an ABBA classic; a collection of new videos and the best new music from the world of Pop; a track to mark the remastered version of Oasis' 1997 album, Be Here Now, into the bargain. On top of that, a collation of songs from albums out this week or the weeks coming; fresh and newborn songs and some of the finest sounds around. Take a pew and enjoy another edition of The October Playlist…

__________________

Nimmo – Dancing Makes Us Brave

[youtube https://www.youtube.com/watch?v=m1QABVsEjYw&w=560&h=315]

Oasis – Stand By Me

[youtube https://www.youtube.com/watch?v=maTP315XZCQ&w=560&h=315]

Sleaford Mods – I Can Tell

[youtube https://www.youtube.com/watch?v=suK5iqVxmTE&w=560&h=315]

Toy – Clouds that Cover the Sun

[soundcloud url="https://api.soundcloud.com/tracks/286171616" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Death Cab for Cutie - Million Dollar Loan

[youtube https://www.youtube.com/watch?v=XE0nOfTA3pY&w=560&h=315]

Louise Lemón – Thirst

[soundcloud url="https://api.soundcloud.com/tracks/287359748" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Franz Ferdinand – Demagogue

[youtube https://www.youtube.com/watch?v=niJtpcgtUQs&w=560&h=315]

Radiohead – Down Is the New Up

[youtube https://www.youtube.com/watch?v=2tnz9sSGprc&w=560&h=315]

The Clash – Guns of Brixton

[youtube https://www.youtube.com/watch?v=wqcizZebcaU&w=560&h=315]

ABBA - Voulez-Vous

[youtube https://www.youtube.com/watch?v=za05HBtGsgU&w=560&h=315]

Tove Lo – True Disaster

[youtube https://www.youtube.com/watch?v=EFwIsrzDqMI&w=560&h=315]

Bob Dylan – Mr.Tambourine Man (Live at the Newport Folk Festival)

[youtube https://www.youtube.com/watch?v=OeP4FFr88SQ&w=560&h=315]

Bryson Tiller – Let Me Explain

[youtube https://www.youtube.com/watch?v=0vCdTFusX24&w=560&h=315]

Weezer – I Love the U.S.A.

[youtube https://www.youtube.com/watch?v=amy-4jDlYgo&w=560&h=315]

Anna Pancaldi - Keep On Keeping On

[youtube https://www.youtube.com/watch?v=NWCuT-or7d8&w=560&h=315]

Glass Animals – Season 2 Episode 3

[youtube https://www.youtube.com/watch?v=x2Kwos_oWSc&w=560&h=315]

Danny Brown – Pneumonia

[youtube https://www.youtube.com/watch?v=Xs-Dc3_eiV8&w=560&h=315]

Sian Cross – Tell Anybody

[youtube https://www.youtube.com/watch?v=2uy3LDl0Bmw&w=560&h=315]

Daughter – The End

[youtube https://www.youtube.com/watch?v=1tnUx4d9QAI&w=560&h=315]

Alice Olivia – Shot You Down

[soundcloud url="https://api.soundcloud.com/tracks/286549388" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Devyn Rose – Mood Killah

[youtube https://www.youtube.com/watch?v=kY7eR872-yc&w=560&h=315]

Maroon 5 (feat. Kendrick Lamar) - Don't Wanna Know

[youtube https://www.youtube.com/watch?v=OxPv8mSTv9U&w=560&h=315]

Lisa Mitchell – Warhol

[youtube https://www.youtube.com/watch?v=cUq0hb7NkiE&w=560&h=315]

Riff Raff (feat. Skepta) – Back from the Dead

[youtube https://www.youtube.com/watch?v=a_zme8Pj7KA&w=560&h=315]

Sweet California – Good Life

[youtube https://www.youtube.com/watch?v=3-dIZA-y8q0&w=560&h=315]

The Veronicas – On Your Side

[youtube https://www.youtube.com/watch?v=g_zeHNOy5Vk&w=560&h=315]

Conor Oberst – Counting Sheep

[youtube https://www.youtube.com/watch?v=UXjFOmoyQq4&w=560&h=315]

 

The Lemon Twigs – As Long As We’re Together

[youtube https://www.youtube.com/watch?v=xQ4nqnVOfMo&w=560&h=315]

Derek Minor – Look at me Now

[youtube https://www.youtube.com/watch?v=ibgRbSZaIJc&w=560&h=315]

Jamie Lidell – Building a Beginning

[youtube https://www.youtube.com/watch?v=RkNdHL3eXGc&w=560&h=315]

The Dillinger Escape Plan - Limerent Death

[youtube https://www.youtube.com/watch?v=6p4tQUBtsBw&w=560&h=315]

Dr. John Cooper Clarke and Hugh Cornwell - Johnny Remember Me

[youtube https://www.youtube.com/watch?v=VKYQypWSfUE&w=560&h=315]

JoJo (ft. Alessia Cara) - I Can Only

[youtube https://www.youtube.com/watch?v=snvnnNB--BA&w=560&h=315]

Josefin Öhrn + The Liberation - Rushing Through My Mind

[youtube https://www.youtube.com/watch?v=spf9TcoavUo&w=560&h=315]

Katie Melua – Dreams on Fire

[youtube https://www.youtube.com/watch?v=ZuLVfWjREBM&w=560&h=315]

Two Door Cinema Club - Are We Ready? (Wreck)

[youtube https://www.youtube.com/watch?v=RrJZJtY6u7o&w=560&h=315]

Nessi Gomes – These Walls

[youtube https://www.youtube.com/watch?v=4lWnxxADdLY&w=560&h=315]

Rebecca Ferguson – Bones

[youtube https://www.youtube.com/watch?v=WkMOfRYYwJI&w=560&h=315]

Sabrina Carpenter - All We Have Is Love

[youtube https://www.youtube.com/watch?v=lUotEgzKmG8&w=560&h=315]

Tessa Violet – Not Over You

[youtube https://www.youtube.com/watch?v=Dg4setI1nMk&w=560&h=315]

Jenny Hval – Period Piece

[youtube https://www.youtube.com/watch?v=1EcVd-iorbY&w=560&h=315]

There are plans for some great albums and some stunning music is due to arrive before the month is complete. I will try and keep on top of it and bring you the best out there. In the meantime, there is a wealth of October songs (above) to keep the appetite fed and satisfy the pickiest music listener. It has been a great one for legends like Bob Dylan but we cannot overlook all the great new talent emerging right now. 2016 is a year that has already given so much to music and continues to do so without taking breath.

TRACK REVIEW: Michelle O Faith - Birthday Blues

TRACK REVIEW:

 

Michelle O Faith

  

Birthday Blues

9.6/10

 

Birthday Blues is available at:

https://soundcloud.com/michelleofaith/birthday-blues

RELEASED: 12^th September, 2016

GENRES: Cinematic Pop; Soul; R&B

ORIGIN:

London, U.K.

____________________________

I am pretty pleased Michelle O Faith has come to my attention...

as it gives me the chance to explore a number of different themes: the finest female singer-songwriters emerging; bold and beautiful personalities emerging right now; artists that have the ammunition and attitude to succeed and remain in music – a little bit about cinematic, hard-hitting compositions too. I have focused on the boys a lot over the last couple of weeks – in the form of interviews and reviews – and, whilst it has been great discovering new talent, I have neglected the female artists emerging and their music. I always find something different with female artists (as opposed to the guys): it might be the general quality of originality – I just get left with a stronger aftertaste and a bigger smile. That might be an over-generalisation, but when it comes to the young singer-songwriters, the girls are edging ahead of their male peers. Neither sexist (reverse-sexist, technically) nor discriminatory: it is a point that warrants greater discussion. There is still an imbalance in the music industry which is seeing many female artists have to work harder (than men) to gain attention and respect – there is a need for progressiveness and equal opportunities. As is being proved by the raft of fine talent breaking through the underground: the girls are a lot more agile, talented and colourful than the guys. You can argue against that assumption, but the evidence is there to back me up. Don’t get me wrong: I love the guys and the various genres, wonderful acts and future-legends that are playing with aplomb. One thing I find is there are too many musicians – the boys in this case – that stick to the same themes and sounds (love and relationships through Pop and Soul) that are not distinguishing themselves and playing too closely to their contemporaries. If you look at the girls – there are quite a few equally culpable – a lot more bombast, richness and variegation can be found.

This is true of Michelle O Faith who not only subsumes expectations of a young musician – someone who will solely focus on love in narrow terms – but has the adventurousness, confidence and songwriting finesse of the idols who have inspired her. Before I carry on this topic, and invariably raise a few more, I shall let Michelle introduce herself (from her Facebook bio.):

“I am Michelle O Faith, a singer, songwriter, composer and producer from South London. In September of 2013, I signed a publishing deal with Peer UK in a joint venture. I graduated 2013 with BA Music (Hons) from The University of Southampton and I am currently studying for Masters Music, Composition at The University of Leeds Welcome to my Facebook music page. Have a little gander, and if you like what you see/hear then do feel free to Like, Comment, Share and..most importantly..HIT UP YOUR FRIENDS. (I.e. get them to hit that Like button, also). Thank you for joining me on my journey... No bio section would be complete without at least one slightly pretentious comment.

There is not just one artist but a long time favourite / greatest inspiration and perhaps the single greatest entertainer to have ever lived, Mr Michael Jackson. Janet. Mariah. Whitney. Gaga. Britney. Destiny's Child. BEYONCE. Christina. Yadi (Google her - she's gonna be BIG). Rodney "Darkchild" Jerkins. Stargate. Dr Luke. Max Martin. Ester Dean. Teddy Riley. Jermaine Dupri. Ellie Goulding. Florence & the Machine. Florrie. Sky Ferreira. Jessie J. The Script, Coldplay. Classical composers - (a LOT of them inc., Mozart, Beethoven, Handel, Tschaicokvsky, Bach, Debussy, Rachmaninov. Life. Beautiful Boys. Space. Loneliness. Dark souls. The dark part of my soul. God. Blue eyes. Brown eyes. People. What makes people tick. Relationships. Tears. Laughter, (though not so much). Fallouts. My mum, (whom I LIVE for). X”

You can tell from the biography alone that O Faith is someone that vibes from the legends of old but has a contemporary edge. Admiring of Classic composers and Pop queens; the chart-friendly acts of the moment and the most impressive musicians of days gone by – you get a little bit of everything with her music. What impresses me most is how unique she sounds. Never beholden to her favourite musician or lazily copycatting them – like so many new artists do – her lyrical template and musical palette is very much her own creation. Michelle O Faith is a singer that captures you with her sensual, passionate voice and braces you with her powerful delivery and soulful tones. Chocolate-smooth at once; transforming into something honeyed and alluring – mutating into sassy, brassed tones when the music calls for it. A South London girl born and bred: you can hear that accent come out; she never distils it or Americanises her vowels/lyrics. You know she is going to go far and establish herself as a great of the future. One (other) thing that seduces me with regards O Faith is the personality and accessibility that radiates from her. Whether promoting her music or reaching out to her fans: that warmth and love come through; the desire to touch everyone and bring them into her world. Just looking through her social media pages and you get a constant stream of uplift and special D.N.A. She is not someone that deals in soundbites and clichéd statements: sweeping, un-distilled purity and affection emerge. This is not cynical or designed to hook people in – this is who Michelle O Faith is. I mention this point – regarding vivacious personalities – because we are seeing few genuine idols come into music. Maybe the pressure and fatigue of music blunt the senses, which raises its own concerns. I am not suggesting every new musician needs to jump off the page and attack the senses with smiles and effusive videos. Too many bands tend to (see their members) blend into one another and lack the same edge and personality you used to get in the past – too cagey and cautious, perhaps. The same can be said of solo musicians: many of whom are far too guarded and stilted to get inside the heart. That can never be said of O Faith whose beauty and humanity defines who she is. Not only incredibly striking and beautiful: she is someone who has a deep love of her fans and the music she is making. It is easier bonding with a musician, and the songs themselves, if you feel a genuine connection to them. Michelle O Faith has accrued a legion of fans (in part) because of her attitude to fans and the need to resonate with people. Of course, the music itself has done some shouting and should not be overlooked.

Birthday Blues, in addition to her debut E.P., is a self-written, self-produced track that not only emphasises a keen talent and sensational voice – someone who can put her soul and innermost feelings onto the page. She may rank artists like Beyoncé as role models but I feel O Faith is a superior songwriter and talent – not someone who requires a brigade of producers, tastemakers and scribes to create her music. Birthday Blues collates the sounds and divergence of London and elements of U.S. artists such as Lana Del Rey. The exhaust-fire beats and quasi-symphonic rushes seem to, whilst perhaps not intended, as emotional markers and the sounds of the streets. You get a touch of cosmopolitan rush and the diversity of the capital: a perfect blend of colour and black-and-white – all you could possibly ask for. I have been longing to find a homegrown musician that incorporates many of Lana Del Rey’s qualities. Of course, the U.S. singer is not the vanguard and sole example of cinematic strings and huge sounds in Pop. There are a number of like-minded acts that go beyond the familiar and put proper grit and excitement into the compositions. One imagines – when hearing Birthday Blues – an excursion down a desert road or a romantic waltz through the Hollywood Hills. Not only do you get bold and heart-pounding cocktail measures but spine-tingling, blood-rushing romanticism and something quite alluring. Not only are O Faith’s influences key – with regards this heady blend of sounds – but the extension of her personality. She does not do anything by halves and puts her heart and mind into everything. That fortitude and dedication will pay dividends and all highlighted in Birthday Blues – a teasing and tasty cut from her forthcoming E.P.

Birthday Blues is the latest cut from Michelle O Faith but she is a musician that has an illustrious and spectacular last year – creating some fantastic music along the way. Sleep Through Fire was released a year ago but is a song I return to. O Faith’s sultry and revealing vocal and a composition that blends together classic Pop, Trip-Hop and Soul. The accentuation and delivery in unique: words are stuttered and stretched; rushed and slowed to ensure every line is given maximum emotional consideration. vulnerable lyrics sees the heroine walk through fire and encounter struggles. It seems like two lovers and being separated by life or different ideals. Wondering whether (they both) will reclaim their bond in time to come: questions are posed and the future seems uncertain. Beats are kept fresh and sparse but add distinct heartbeat and urgency to the track. In a lot of ways (the song) has elements of Pop artists like Lady Gaga and Rhianna – something that could easily fit into the mainstream and gain huge international appeal. If anything, I find Sleep Through Fire deeper and more compelling than a lot of U.S. chart fare. O Faith is a commanding vocal whose pure tones and distinct passion makes the song a cut above her peers. Looking back, No Romance in China (the E.P. where Sleep Through Fire sits) is a collection that emphasises a huge talent. White Lies Red Wine differs from Sleep Through Fire and offers another side through. Smokier and tenderer than its stablemate: the song boasts hummed backing vocals and a beautiful lead performance – without instrumentation; left there to seduce and amaze.

Michelle O Faith is a singer that can hold attention and focus without processing and huge compositions. The song sees agile beats come to play, but by and large, it is a song that exists on a solid and entrancing vocal turn. Again, the way the lyrics are twisted and turned makes the song what it is. Never plainly sung or obvious: the delivery is constantly surprising, mobile and nuanced. The song looks at the heroine a relationship that had its problems and seems to be on the rocks (“Never meant to be your victim”). Drowning in the lover’s lies (and red wine that is dulling the pain); it is a song whose choral, ethereal backing adds poignancy and heartache. Subtle strings emerge in the background and give it more chill and beauty. Despite the hurt, there is a sense of catchiness and memorability about the song – a number that could be sung by live crowds and get big reception. If I was to offer any review between No Romance in China and Birthday Blues, that would be the confidence and composition changes. The performance (on Birthday Blues) is the finest yet and O Faith is at her very peak. Not only does she bring more shades, sides and attack to the voice but she sounds more complete, solid and rounded as a performer. Existing at its side is the composition which heightens that blend of cinematic and atmospheric and augments the beats and compositional elements. The vocal is still queen but Birthday Blues is a busy and intoxicating song that gets into the head and elicits instant response. This leap and evolution will go into the sophomore E.P. and is the defiant sound of a young woman more comfortable than ever and showing huge ambition. She – on Birthday Blues – edges away from stars like Rhianna and the mainstream charts to show more of her own voice and, if anything, inject elements of Pop and Soul greats. She has mentioned singers like Michael Jackson – an idol that has moulded her sound and direction – and more of his inflections, tics and components can be found in the song.

A recent B.B.C. article wondered whether songs could ever be poetry – in response to Bob Dylan winning the Nobel Prize. In terms of modern music, that would be a debate with no easy answer. There are songs that have poetic elements but there is nobody like Dylan – nobody since him has shown that intelligence, genius and huge influence. Maybe the changing nature of music and passing of time has meant there are fewer writers like him. Despite nobody eclipsing Dylan: that is not to say modern writers cannot amaze and create something poetic. Michelle O Faith, in her previous songs, has addressed love and life, but here, she looks at herself and mortality – achieving dreams and something unique. In terms of the lyrics and themes one hears: there is definite poetry and stunning prose; an artist that addresses something quite affecting and sad but does so in a beautiful way – helped by the wonderful composition. Birthday Blues is a song that gets underway instantly. “Half a girl” is lying on the kitchen floor: she is only half the woman she wants to be. Right from the very start, there is that blend of raw and profound. The imagine of the heroine sprawled on the kitchen floor – perhaps inebriated or just contemplating life whilst staring at the ceiling – you can hear the emotion and heavy heart come out. Backed by tripping, sprite strings – sounding like classical strings with some bass – there is a rumble of percussion but things are kept relatively light in the early moments. Letting her voice dance and sway in the breeze – the way she pronounces and delivers the lines is still unlike anyone else – and O Faith addresses twenty-one and that milestone age – a year for death and ill fate to some; a young woman feeling very old. Many would think someone that young has nothing to worry about but the heroine is feeling strain and perhaps looking back at life. Whether feeling incomplete, empty and not as far along as she hoped – someone who wants love, success and direction but is not getting it.

I feel Birthday Blues is Michelle O Faith’s acknowledgment time is passing but growing older is not something to be celebrated. The birthday songs and jubilant chorusing is almost dagger-like in her heart. Maybe precious relationships and a hard year have meant the birthday is an unwelcome trespasser. Unlike her peers and colleagues: Michelle O Faith is a singer and writer that does not copy the crowd and fit into any preconceived moulds. Her words are more thought-provoking, image-heavy and emotive than most; the singing more human, cutting and emotive than anyone out there. I use words like ‘emotive’ and ‘emotional’ yet Birthday Blues is not a completely sombre and exhausted song. The point behind it is to talk about ageing and personal growth and make others think deeply. One gets drawn into a rather hypnotic combination of vocals and composition – the song motivates you to get involved and assess it whilst giving it repeated plays. As things continue, O Faith is sleeping with the enemy and finding it hard to dream. Whether the nemesis is a human being or just a general way of life, one is not instantly sure. I get the impression the heroine is trying to find real connection and a lover but is more concerned with her place in life and where she is. Maybe the past year has been a hard one and she has overcome obstacles. As a musician, maybe she is not as far ahead as she wants or is making big dreams – all of this comes to fruition in the notes and revealing vocal. “Tell them to keep the candles and cake this time” as O Faith lies with regret and is awash with doubts. It is a vivid song and you see yourself sat alongside her; by the bed and watching a woman wrestling with turmoil and contradictions. Whilst successful and inspiring others: one feels she wants a lot more and there are hidden pains. Perhaps friends and ex-loves have let her down and, from a creative perspective, she has been hindered or maybe not hit the big leagues – that is all sure to change in coming years. The chorus comes back around and one finds themselves half-singing and nodding to it. Birthday Blues has that backing beat and mixes edginess and lush without blunting either element. The music is beautiful and aching but definitely has spike and bite to it. Michelle O Faith lets her voice swim and dive; ensure the words get into the heart and the listener is hooked.

By the final seconds, the voice is echoed and repeated – wordless, energised but with a hint of weariness. Repeating that idea of feeling haunted, affected and weighed down by the passing birthdays – your heart goes out to the heroine and what she has to endure. Birthday Blues is a deep and personal song but one we can all connect with. Every time a birthday arrives; one feels the need to look back and see if we have achieved anything (that year) but look forward – hoping for better things and whether we are past our best days. It may sound heavy and defeatist but it is a fascinating topic I have not seen brought up in music before. As a young woman; O Faith might not have to worry about such concerns, but in a way, she does. No matter how old we are, there is always going to be a sense of regret and falling short of our ideals. Birthday Blues is another terrific and stunning song from a musician and singer that continues to grow and expand her sound. More memorable and compelling than anything she has created before: the lead from an E.P. that is sure to gain a lot of attention and huge affection from fans. There are still touches of her Pop idols but there is nobody like Michelle O Faith. She is a very special singer and artist that distinguishes herself from her contemporaries and has created a hugely impressive song.

A lot of ‘self’ goes into Birthday Blues and an author putting her fears and doubts into the music. O Faith has been sitting on the song for month but is excited to get it out there. The delay has not only built momentum and eagerness but coincides with her E.P. release – not long until that is revealed to the world. In terms of the themes and stories that will be revealed in the E.P., one’s guess is as good as mine. I know there will be personalisation and mature revelation. O Faith is a young and hungry artist but one that is willing to confess anxieties and let you into her world. The origination of this is Birthday Blues. The song addresses the everyday fears and common doubts – growing older and feeling mortality creep in. Of course, those of a certain age, have less to fear when it comes to their lifespan but the song’s message is one we can all relate to. Every passing year is going to get us looking forward and back: how much (if anything) we achieved that year and how far short we are of goals and desires. The fans and followers have spoken and showing the song lots of love and respect. It is worth keeping your eyes on Michelle O Faith as, in addition to her E.P., she has some live gigs coming up – including a date at Lost in the Manor’s Blogtober festival (on twenty-second) – playing at The Finsbury in London. Not only will she share the stage with some fine artists – see the official page for more details – but a chance to get her latest single to new ears. Looking at the feedback Birthday Blues has already accrued: it is a song that has resonated with people for a number of different reasons. Not only do the lyrics highlight some vulnerability and fears inside O Faith: there is a common sentiment that causes the listener to address their own life and purposefulness.

Once the dust has settled on Birthday Blues and the excitement being generated; fresh eyes and ears will want more from Michelle O Faith and what she has to offer. Since her debut E.P., she has been busy promoting and performing: connecting with her fan-base and recruiting new supporters. I feel she’s an artist that has a bright future and someone who has many more E.P.s in her. In terms of the coming year: more music and dates; fresh confidence and ambitions for sure. I would not bet against O Faith being a mainstream fixture in a few years; it is exciting watching her take these steps and impress so early on. Before I conclude things, I wanted to look back at the original points – great female singer-songwriters; new, big sounds and personalities – and look forward to 2017. Over the past few weeks, I have discovered some tremendous young artists and great female musicians. In terms of the mainstream acts popping up: the likes of Julia Jacklin have really excited me. I listen to the chart-approved music and feel it is not as deep, compelling and mature as it should be. There is still a raft of teen-aimed Pop stars that might have energy and fervency but possess no emotion, nuance or anything a proper music fan requires. I hope, one day in the future, there is a revolution that sees the mainstream Pop charts defined by absolute quality and innovation. Whether consumers desire or require the sort of machine-fed, committee-penned clichés is an argument for another day. The artists that deserve attention most – and, sadly, are often overlooked – are those we should be proffering. Michelle O Faith is one such example and someone who is making some impressive footprints. I opened with the opinion that the female songwriters emerging are stronger than their male equivalents. Whilst that may be an opinion many argue against: few can deny the fascinating young musicians in our midst. I have extolled the virtues of Billie Marten many times over – someone who is ready-made and fated for the big leagues. She is not an anomaly: instead, the personification of 2016’s female talent.

Not only someone who is consistently stunning and breath-taking but has a mature and wise head on her shoulders. O Faith, polemic in terms of her music, has a lot of Marten-esque strands and personality traits. Both are instantly loveable and intoxicating: O Faith is one of the hardest-working and active musicians you’ll find. As I stated earlier: her social media feed is filled with positive feedback; she often connects with fans and keeps everyone informed as to her going-ons and activity. Having comprehensively studied Birthday Blues – I hope my review does it the service it deserves – I am excited about the forthcoming E.P. I know, from brief exchanges with O Faith, how excited and pumped she is for the release. She lacks pretention and ego and is as pure and real as artists come. This honesty and unfettered personality comes through in the music and, as a result, has seen her fan numbers rise significantly. There are not many artists (British at least) that are combining intelligent, original lyrics with symphonic, atmospheric sounds and topping it all off with a blend of innate beauty and lusciousness. Michelle O Faith has that enticing combination of sensitivity and confidence and a singular songwriter who requires few other bodies ensuring her music is heard. That is deeply impressive – in a time where too many new musicians rely on other writers/producers – so we should provide her full support and backing. Birthday Blues is a stunning cut from a soon-to-be-awesome E.P. Not only one that announces a tremendous young talent but will provide inspiration, guidance and wisdom to (younger, upcoming) musicians that will hear it. Few higher compliments can be paid to a musician, so with that considered, ensure…

YOU bring this wonderful talent into your life.

[soundcloud url="https://api.soundcloud.com/tracks/287284819" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

_______________________________

Follow Michelle O Faith

 

Facebook:

https://www.facebook.com/michelleofaithofficial/?fref=ts

Twitter:

https://twitter.com/michelleofaith1

SoundCloud:

https://soundcloud.com/michelleofaith

Instagram:

https://www.instagram.com/michelleofaith/

INTERVIEW: Dexter Krenal of Meat Loving Vegans

INTERVIEW:

 

 

Dexter Krenal of Meat Loving Vegans

______________________

THIS is the second time I have interviewed Meat Loving Vegans’…

PHOTO CREDIT: Lou Smith

lead Dexter Krenal. The London-based band are one of my favourite ‘finds’ of the last couple of years and their album, Lost in Fiction, is a joy of deep songwriting and honest, punk-influenced vocals. The band are coming towards the end of their time together, so before the (sad and heartbreaking) final days: I was keen to catch up with Krenal and ask him about what the future holds and how it came into music. He – and the boys in the band – have great futures ahead and Meat Loving Vegans will play at my curated night (for Blogtober) at The Finsbury on the thirtieth of this month - they have their sophomore album to unleash in addition! Krenal is always loveable, honest and real when interviewing, so sit down and have a look – parental guidance advised in places!

________________________

[soundcloud url="https://api.soundcloud.com/tracks/287689762" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Hey Dexter. How are you? How has your week been?

Good cheers, mate! Weirdly enough, I’ve got man-flu though - which I bloody had last time you interviewed me. You ain’t sending me lurgies through with these questions somehow are ya? (Maybe – Sam).

For those new to your music: can you introduce yourself, please?

I’m Dex: a slightly nutty, rough-around-the-edges twenty-five-year-old. The front-man of the London-formed, up-in-the-air jazzy Alternative-Rock band, Meat Loving Vegans. ‘ELLO!

Can you tell us about how Meat Loving Vegans came together? Did you guys bond instantly or was it a bit of a chore getting things gelled

It started by me writing and recording an album mostly on my tod (in a bedsit) in Lewisham, South London. I wanted a band to do it live - so put a feeler out to me mates and, voilà, M.L.V. was born.

Originally, you are from down Portsmouth way. The city gets a bad reputation. Do you think that is deserved and what was it like for an inspiring musician living down there?

Back down here now at the moment (‘coz my London life went down the swanny somewhat). Yeah, it’s a fuck*** shithole but it’s home.

Portsmouth is no stranger to lager louts; lairy sods wanting a ruck for no good reason; football hooligans and what have ya. They’re rough people, but good people.

If it were all flowers and beauty 'round here it’d be full of the likes (of that on) Hampstead Heath - AND WE DON’T WANT THAT! I actually think it’s banging for a musician down here to write/discover who they are – you don’t have the distractions or brutal price tag of London to pull you away from what ya really want to be doing.

What was the moment you realised you wanted to get into music? Was there a gig or band you saw that lit the spark?

I was brought up on council estates and all everyone did when I was a teenager was skive off, get into trouble; get pissed and what have ya which don’t get me wrong, I was no stranger to - but I wanted more than that. A mate of mine joined a band and did a local gig in a parish centre - which was hands-down the most exciting thing that happened to anyone ever. They only did one or two original songs but it didn’t matter. The lead singer could have been farting down the microphone for all I cared: it was loud and it was fun. It was definitely better than a slap on the botty for being a little sh*t and I wanted in!

A few years ago, you moved up Camden way. What was it like in comparison – I can imagine it is a part of London that suits you very well?

Fuck*** loved it mate. I moved up there four years ago and I was like a kid in a sweet shop.

My first place was a room on an estate across the road from Amy Winehouse’s gaff. Mates would see Pete Doherty strolling around or on the market stall he owned selling celebs’ fag butts and sh*t on the Chalk Farm Stables.

I met Noel Gallagher in a pub called Dublin Castle off the high street - live music 'round every corner.

I often ask people (who play and live in London) how important the city is with regards inspiration and subject matter. What does London mean to you, personally?

Its energy is undeniable and the city is an endless source of incredible inspiration and goings-on. London will always be close to my heart: it’s a place like no other. I’m also a bit bitter grapes about it at the moment – its other side is that of careerists, two-faced arseholes and insane living costs which is making it hard for decent art to survive. In my opinion, the best stuff comes from the gutter up and at the moment, unless you’re one of the yuppie, Portobello Road, my-dad-pays-for-my-rent-and-funded-my-E.P. type of thing, it’s a no-go. Let’s hope it’s saved before it’s too late.

 [bandcamp width=350 height=470 album=1798334013 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=1845806847]

Lost in Fiction was the debut album from Meat Loving Vegans – an album I loved. Looking back at the album: what was the reaction like to it and any particular songs that stick in your heart?

Goodbye Granda will always stick with me – no way that’d ever get on radio 'cos it’s too full-on but it weren’t (sic.) made for that.

That is a goodbye note to my beloved grandad: right from the heart that is and I’m insanely proud of it.

In terms of reception, it took a while but getting there! You Ain’t No Dog  – a political song I wrote with my mate Ben Toon - got played on the radio a little while back and they liked it enough to let us do a live show on Express F.M. (on the twenty-ninth of this month off the back of it).

Can we expect a second album from you guys or any new songs this year?

Yup. Another full L.P. in the works right now. God knows when it’ll be done but it’ll get finished, even if it kills me. Too much has happened in the making of it for it to sit on the shelf - it looks like it’ll be the end of the year. It’s intense.

I know you (like me) have a love for real and gritty artists like Oasis and Jamie T. You seen the Oasis documentary yet? What was your opinion of Jamie T’s latest record?

Nah. Missed the Oasis doc. so I’ll have to catch that on D.V.D. (which I was fuck*** livid about!). Didn’t realise it was just for one day! Can’t wait to see it, though: them sods from Burnage in Manchester gave a generation of working-class young’uns hope and that’s fuck*** special; I don’t care what anyone says about them. And, as with Jamie T’s new album, I went to see him play it live on tour at the Portsmouth Guildhall the other week - was a banging gig (what I can remember of it).

[bandcamp width=350 height=470 album=1798334013 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=1304917266]

In terms of your own songwriting and creations: do you write from experience or fiction when penning a new track? What kind of thins motivate you to put pen to paper?

Always experience. ALWAYS. I can’t write about make believe bulls*it and don’t see why I’d ever want to.

“I DON’T BELIEVE ILLUSION 'COS TOO MUCH IS REAL!” in the words of John Lydon - and damn right he is.

Anything that gets me in the gut - good, bad or otherwise - is what makes me put the pen to paper. Music’s all about communicating with people, so you’d better have something worth saying.

Even though Meat Loving Vegans have had to cancel a few gigs lately: you guys have any plans to perform any more dates this year?

Yeah, the day after the Express F.M. radio show on the twenty-ninth we’re doing this festival called Blogtober at The Finsbury in London (the day after).

The way it’s looking, that may or may not be the last thing we do as Meat Loving Vegans (so don’t miss it!).

PHOTO CREDIT: Lou Smith

It has been a big year for you and the band. Any especially fond memories and moments that will live on for you?

Yeah. I’m living on my keyboard player and old drummer’s floor and writing music working on this album like a fuck*** madmen. All got a bit nutty though and the memories of lugging amps on the tube can suck a fart right out of my fuck*** bumhole.

One thing that impresses me about you is how down-to-earth and D.I.Y. you are. The music seems home-made and you have a cheeky personality. Do you think too much of today’s music is fake and personality-free? What are your opinions on today’s crop?

Couldn’t agree with that statement more! Even so-called ‘rough-around-the-edges’ artists like Jake Bugg don’t write their own fuck*** songs nowadays. He’s got a co-writer. It’s all so sanitised; it’s criminal. Saying that: forming in the gutters late at night are labels like Trashmouth (in South London) releasing real raucous shit. Out of darkness comes light.

Any new or particularly great bands or artists you think we should check out right now?

Fat White Family, Phobophobes; Misty Miller, Bad Parents; Meatraffle, Madonnatron; Mac DeMarco, VEDA BLACK; Slaves, Black Honey; Mummy and Sex Cells.

[youtube https://www.youtube.com/watch?v=sPlPsyr_aKE&w=560&h=315]

I know the last few months have been quite turbulent and you’ve overcome some obstacles. What are your hopes and aims for the next few years with regards music and your personal aims?

Soul search; find my voice and get back out there big-time.

I’m gonna keep my head down and focus until the time is right - but when I’m ready, it’s gonna be full-on.

Until then, I’m gonna re-master an album’s worth of songs from my old Alt./Hip-Hop/Rock band Urban Disturbance - that’ll be done real soon. Then, finish off this album with the Meat Loving Vegans by the end of the year.

Finally, and for being a good egg, you can name any song you like; I’ll play it here…

Heard this the other day and it blew me away. Only just got into Radiohead after my mate Ben has hounded me with ‘em for years

[youtube https://www.youtube.com/watch?v=Ti6qhk3tX2s&w=560&h=315]

_______________________

Follow Meat Loving Vegans

Facebook:

https://www.facebook.com/MeatLovingVegans/?fref=ts

Twitter:

https://twitter.com/MeatLovinVegans

SoundCloud:

https://soundcloud.com/meatlovingvegans

BandCamp:

https://meatlovingvegans.bandcamp.com/releases

YouTube:

https://www.youtube.com/c/meatlovingvegansofficial%20