INTERVIEW: Cold Reading

INTERVIEW: 

 Cold Reading

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IF you’ve heard one Swiss Emo/Indie band…

you’ve probably been listening to Cold Reading. There might be another one but, given they have unique real estate, I was interested finding more about the boys. Books & Comfort is the latest song from the powerhouse collective – taken from their forthcoming E.P., Sojourner. They guide me through its creation and inspiration; talk about some of the music (and books) that inspire them and how the remainder of 2017 is patching out.

I talk to the chaps about their European success and, consider they have played in the U.K., there is any intention of returning anytime soon. They provide background on their latest single and the emotions and dynamics that feed into their unique blend.

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

Marc: Hey. We’re all fine, I guess.

Very exciting to release the first new music in two years, of course.

For those new to your work; can you introduce yourself, please?

We are a four-piece rock band from Lucerne, Switzerland called Cold Reading.

Our sound can be placed somewhere between Emo, Indie and Alternative Rock - and we formed in 2014.

We've got Mike on Vocals/Keys, Chris on Guitar/Vocals; Arthur on Bass/Vocals and Marc on Drums.

Can you tell me how you got together in the first place and where the name ‘Cold Reading’ came from?

Chris: I’ve known Mike for years now and we’ve played together before. Arthur and I met later and played together in a band called Face the Front. Then, we met Marc at a show and formed Cold Reading - after the disbandment Face the Front.

After getting Mike on board; our current line-up was complete.

Books & Comfort is your new single. What can you tell us about the song and its meaning?

Mike: Books & Comfort was, actually, the last song we wrote for the new E.P.

We certainly meant it to be a rather fast-paced, to-the-point song and it was soon decided that it would be a fitting first taste/single. With regards its content; it’s a play of thoughts on the desire to slip into another body. There are times when you think all your problems can be solved by running away.

In the end, however, one has to learn how to deal with one’s weaknesses and try to change them into something positive.

I get a sense of battling against struggle and finding a positive outlook on life (from the song). Was there a particular occasion or moment that inspired the song? Is it a track relevant and meaningful to all of you?

Yeah, you got that right.

As with many of our songs; the lyrics are simultaneously somewhat autobiographical and abstract. There was not a specific occasion that is being dealt with in the song - it’s more a processing of thoughts that I’ve had time and time again – and (about) how I’m striving to turn them into something more optimistic.

Arthur: While Mike is the lyricist - and certainly has the deepest connection to them - we certainly ‘feel’ them as well. As we are a very democratic and collaborative band, every song is a new baby for everyone – and, I think, Books & Comfort is absolutely a ‘relevant’ song in our limited discography.

Marc: Yeah. It’s probably my favourite song of ours (until now, at least). 

Sojourner is your E.P. – coming out on 22nd September. Can you reveal any other songs that will appear on it?

Well. There will be four songs on the album.

One of them is the title track - of which you can find an acoustic version online already.

I rarely get to interview Swiss bands. What is the music scene like there and how easy it is getting your music out to the people of Switzerland?

Switzerland is a great country to play in regard to how well you are treated as a band.

It is so small, however, that there’s no point of actually touring only in Switzerland - at least not if you are a small band playing a relatively marginalized style of music (like we are). The scene is tightly-knit, though, so you can count on a loyal fan base and cool opportunities popping up - like supporting some bigger bands.

PHOTO CREDIT: Luke Bateman Photo

It seems Books & Comfort, already, has garnered attention from German, British and American sources. Is it quite surprising hearing your music being taken to heart in these nations?

It’s very flattering that the likes of New Noise Magazine, Mosh (Hit the Floor), Intro Magazine (and more) were kind enough to premiere or write features about our music.

We don’t take it for granted and are just excited about everyone who takes pleasure in listening to our tunes.

Your music, I find, has progressed and evolved over the last couple of years. How would you say it has changed?

We just like to keep challenging ourselves...

We do have a core sound and style that we want to keep playing. For example, we won’t abandon our beloved quiet-loud dynamics any time soon, I guess. However, we always try to implement out-of-the-box approaches, different synth and guitar sounds; varying song structures and the like.

Or, as is the case with Books & Comfort, we challenge ourselves to streamline a song - which is often even harder to do for us.

PHOTO CREDIT: Luke Bateman Photo

Who are the artists you all grew up listening to?

Chregi: Marilyn Manson used to be my favourite artist as an early-teen. Soon all the Emo bands - like Taking Back Sunday and Brand New - that were huge at the time took over.

Marc: I listened to terrible American radio Rock for far too long. I think La Dispute and Alexisonfire were my gateway bands to the realms of Post-Hardcore; '90s Emo and all that stuff.

Mike: When I was younger; I started listening to Punk-Rock. I was totally into NOFX, Propagandhi and all these melodic Punk bands. What I loved most about Punk-Rock was that everybody could do it. You didn’t have to be a pro. to do what you want.

Yeah, I loved this D.I.Y. ethic and it’s still part of me.

Arthur: Since my parents kept spinning The Clash and Buzzcocks records over and over again; I ended up being a big fan of Punk music - even before my teenage years.

I, then, soon got into all the classic Pop punk stuff like Blink-182, New Found Glory etc. which, somehow, led me to discover smaller Pop/Punk/Emo/Indie bands.

Have you any tour dates coming up at all? Might we see you in the U.K. at some point?

Marc: Apart from playing a few shows in Switzerland, we are heading out on a ten-day tour in October. Unfortunately, it won’t take us to the U.K. but we’re excited to be hitting France, Germany and, possibly, Austria.

We enjoyed our U.K. trip last summer and definitely plan to come back next year. It’s just difficult to handle with our jobs and university (and that kind of stuff).

Are there any new artists you recommend we check out?

I’m currently digging Backwards Charm: an Austrian band we became friends with.

The new Sinai Vessel record is great (even though they aren’t really new: they’re gaining some steam this year).

IN THIS PHOTO: Backwards Charm

Mike: I really dig Portugal. The Man’s latest album, called Woodstock. It’s my favourite of this summer.

Check it out, it’s great.

Arthur: The Tiny Engine-signed band Wild Pink released an album which definitely is, for me, an A.o.T.Y. (album of the year) contender.

There’s also a German band called Leoniden - who released a hell of a debut album this year.

IN THIS PHOTO: Leoniden

If you had to select the one album that means the most to each of you; which would they be and why?

Chregi: Brand New – Deja Entendu

It’s an absolute classic of the genre and easily my most-listened-to album. It’s still so great to jam it in the van.

Marc: It’s gotta be Death Cab for Cutie’s Transatlanticism

Not only is it an absolute masterpiece of melancholic Indie-Pop-Rock; it (just) holds a special place in my heart and takes me right back to the time and place when I listened to it religiously.

Mike: That’s a tough question...I mean, there are so many good records out there. But, if I had to pick one, I’d choose The Devil and God & are Raging Inside Me by Brand New

I love the whole idea behind the record. The profound lyrics still guide me through life. 

Arthur: I’ll have to say American Football’s L.P. 1 (eponymous album)

It somehow made its way to my ears during a fitting period in my life leaving a big emotional connection toward its songs.  

Also, given your literature-referencing song and band name; if each of you could only rescue one book from a burning building – bear with me on this one! – which would they be?

Chregi: City of Thieves by David Benioff

Marc: Jonathan Franzen’s The Corrections

Mike: The Dark Tower series by Stephen King

I read these seven books the fourth time in a row now - and every time I still discover new things.

For me, it’s just a masterpiece because it’s such a great mixture of genres and one of the greatest stories ever written.

What advice would you give to any new artists starting out right now?

Marc: I don’t think we are really in a position to answer this question satisfyingly.

It’s a game with so many factors in it and only one-in-a-thousand will make it big - so you might as well just do what you want to; write the songs that you want to. Stay true to yourself and have fun. On a more practical note, it certainly helps if you show up at (local) shows - or even book and promote shows on your own.

You will make new friends, discover great bands and make connections that can help your own band as well…so it’s a win-win-win.

Mike: Make music because you love it - and don’t think too much about getting famous. Write songs and have fun.

Simply stay true to yourself.

Arthur: Marc already put in words what I’d have said perfectly….

Finally, and for being good sports; you can each name a song and I’ll play it here (not one of yours as I’ll do that).

Chregi: Manchester Orchestra – The Alien

Marc: Slowdive – Don’t Know Why

Mike: Portugal. The Man – Live in the Moment

Arthur: Leoniden – Nevermind

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INTERVIEW: The Cuckoos

INTERVIEW: 

CUCKOOS.png

 The Cuckoos

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THERE is something sickeningly envy-provoking about a thirty-something…

journalist interviewing a hot band whose eldest member is twenty-one! Not that I am jealous or anything but, putting aside the stress ball, I have been talking with The Cuckoos’, Kenneth Frost. He talks to me about the coming-together of the band and how their home, Austin, is championing their music.

The band’s eponymous E.P. was released in April so I ask whether there will be singles released; the artists/sounds that helped influence their sound and the gigs they have coming up.

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

Good!

We’ve just been working on lots of new tunes.

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

I'm Kenneth Frost of The Cuckoos.

Tell me how you guys got together and the inspiration behind the name, ‘The Cuckoos’. It sounds like you share a common viewpoint when it comes to music.

We met through various mutual friends and musicians around Austin - and we share lots of love for a lot of the same artists.

The name came from me (just) watching One Flew Over The Cuckoo’s Nest one day. I thought it had a good ring to it. 

Classic Rock christened your music as “spectacular”. Is getting that kind of kudos encouraging?

Of course.

It's always nice to be complimented on our work.

Your eponymous E.P. was released in April. What kind of themes and experiences did you channel for the E.P.’s songs?

The songs were inspired by love, growing up; heartbreak…all the usual Rock and Roll stuff.

Are you planning any future single releases from the E.P.?

Yes.

We've got tons of music we're working on and hopefully we'll drop a new single real soon!

What has the reaction been like so far? Has it gone down pretty well with people?

People seem to dig it from what I gather.

The response at shows has been really encouraging. We’ll see what happens from here.

Austin is your base. What is the scene like in the Texan city? What are the best venues for a band like yours to play?

There's lots of cool venues for Rock and Roll groups - and Psychedelic bands - to play. The Electric Church is really groovy because they've got a killer light show. I like Hotel Vegas and Swan Dive a lot, too.

Looking at you – and hearing the music – one gets the impression of the 1960s and the classic artists of that time. What kind of music were you all brought up on?

We all listen to, and grew up with, tons of music from all over the spectrum.

At the time of the recording, I think we were very much on a late-'60s kick, for sure. But, I mean, we listen to everything from the Pixies, Kate Bush and Miles Davis to Joy Division, Chic and Pink Floyd.

We just love groovy music. 

It seems you mix new artists like Tame Impala with the energy and prowess of The Doors – but have your own personality and sound. Was it quite hard getting that mix right?

I think, when we play, we really (just) try to have fun and just express ourselves. The music we like listening to definitely shows in that - and we're proud of our influences.

It's not really a mix we had to get right: we're just doing our thing because we love it and we like the way it sounds. 

How was your first-ever SXSW experience - it sounds like that is the Mecca for any U.S. artist!

Well, we live in Austin so SXSW is always in our lives to some degree each year – but this year was great. We had a ton of fun, played some groovy shows; did a lot of interviews and stuff.

It was really cool. 

 What kind of gigs do you have coming up? Any plans on coming to the U.K. this year?

We just got back from England and then had a show in New York just a little while ago.

Other than that, we've just got some gigs planned locally in Austin - but I'm sure we'll head back over to England in the not-too-distant future. 

Are there any new acts you recommend we check out?

I've been listening to Psychic Mirrors, Soft Hair and Ariel Pink a lot lately (they're new to me) but there's also a cool Psych. scene in Austin brewing up.

We just played a show with The Halfways and Sherry at The Electric Church - and those are a couple of groups with a lot of potential.

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IN THIS PHOTO: The Millbrook Estates

There's also a band called The Millbrook Estates - formerly known as Roaring Sun - that is making some killer music…so check 'em out! 

If you each had to select the one album that means most to you; which would it be and why?

I can't choose one.

I'd say it's a three-way-tie between Joy Division's Unknown Pleasures; Strange Days by The Doors and 1999 by Prince.

The first time I listened to each of those they blew my mind. The first time I heard 1999, I was visiting my mother for the holidays, and I woke up really early one morning at like five or six A.M. It was really chilly, so I put on a leather jacket and rode my bike around town as the sky went from black to a purgatory-like white; really listening to songs like Little Red Corvette and Lady Cab Driver for the first time.

It changed the way I look at music. 

What advice would you give to artists coming through right now?

Work hard, do what you want; be respectful, have fun and don't be afraid to be a lil wild. 

Finally, and for being a good sport, you can name a song and I’ll play it here (not one of yours as I’ll do that).

I've been digging Running Up That Hill (A Deal with God) by Kate Bush, lately 

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INTERVIEW: The RPMs

INTERVIEW: 

 The RPMs

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CHRIS Hawkins, he of BBC Radio 6 Music, has claimed Brighton’s…

The RPMs have “more hooks than a harbour”. That is a bold and old-world claim that I had to contest with the guys – just how many hooks can one band have?! The boys discuss Brighton and why it is the perfect place to brew their unique and arresting music; the skinny on their latest track, Things I Forgot to Do - and what we can expect in the future.

The band has released a tour schedule tease (video) and are preparing for some big dates. I ask about their inception and how songs form; whether they have evolved/changed since their applauded album, Digital Disobedience, and, given the choice, the one album (each) they would cherish above all else.

(The guys completed the interview a few weeks back but only just got the answers back - so don't be confused by the timeline!)

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

Hey!

Very good, thanks. Yeah; we've had a brilliant week as we're playing ButeFest 2017 and just come off the road supporting that great bunch of guys, We Are Scientist!  

For those new to your work; can you introduce yourself, please? 

Jack Valero - Frontman and Guitar player

Miguel Comse - Bass and B.V.s

Callum James – Drums

Give me the lowdown on the new single, Things I Forgot to Do. What is it all about? 

This song is about that universal feeling of struggling...

As soon as you feel you have a grip on things, something comes along to knock it all down or you miss something crucial that throws everything out of whack. It's a feeling we can all relate to - but I think it's particularly prevalent in our age group. Young people slowly trying to figure out who the hell they are - and where their place is in it all.

It can be a very confusing time but also an exciting one, thwart with adventure and creativity. 

The E.P., Agents of Change, was released in April. What has the reaction been like to it? Will there be more releases from it or any new material later this year? 

The reaction's been good...

I think there's a lot of young people out there who are worried about the same things we are and want to talk about them. Especially now, when our generation is feeling more and more isolated with society: berating us so-called 'millennials' for being lazy, entitled and without purpose - when it couldn't be further from the truth.

So, there's a whole generation out there looking for something to latch onto that belongs to us - and connects us like the Internet has. 

How do songs come together for you? Do you all write together or tackle it separately? 

Well, sometimes Jack (the frontman) will come in with an idea and everyone will then add to it and build around it…but, it's becoming more and more collaborative as we go on, which is brilliant - cos you always get the absolute best stuff when working together.  

Digital Disobedience was your much-lauded debut. How do you think your latest E.P. differs? Are you more confident and different from when you started out? 

Yeh. We've made a conscious decision to change and try new things every time we've gone to record.

Like, Digital Disobedience was all loud guitars and angry teenagers: whereas Agents of Change has a slightly more mature approach - with more focus on hooks and production. We all feel it's very important creatively to step out of your comfort-zone as you can discover so much more about yourself and your ability - and keeps your creative mind fresh with new challenges.

We were very inspired by David Bowie's approach towards creativity as he would always be challenging himself (and it seemed to work pretty well for him). 

Chris Hawkins (BBC Radio 6 Music) says you have “more hooks than a harbour”. That must be pretty flattering. Can you quantify just how many hooks you do have?! 

Ha ha! Yeh. We all love that quote - we all shout it out now when we're on tour. It's our 'toppa-most-of-the-poppa-most'!

It's hard to really quantify every hook - as some of them the listener isn't even supposed to be aware of - they just love the sound or want to start moving.

What 'makes' a hook can be different for different people: it's the wonderful intangible nature of music!

But, in short, the answer is…lots. 

Brighton is where you are based. How influential is the vibe and buzz of the city when it comes to your music? 

Brighton is our home, sweet home and we absolutely love it!

There's just nowhere else like it in Britain. You can feel the creative and enthusiastic vibes oozing out the walls and through the streets. It's had quite a big influence on us as everything new comes through here and it's full of all sorts of new young upcoming artists - so our music began to take a far more contemporary style.

Also, where we've started to focus far more on beats - which Things I Forgot to Do is a particularly good example - is due to the fact there are quite a few Funk and Dance kind of bands around that people just wanna dance all night to in the clubs.

But, Brighton has such a diverse music scene that you just end up taking inspiration from everywhere.  

Are there a lot of bars and venues down there for bands to play? What is it about the city that you all love so much? 

Ha ha! Yeh; just a few.

We've got pubs, bars; clubs and theatres up the wazoo! Wherever you go, on any day: there's gonna be something happening - normally music-based. That's the beauty of it: there's always something going on.

It's just alive all day, every day.

Even if a shop closes: a brand-spanking-new one will pop up in its place a week later - selling something crazy like vegan dildos or something. It's such a forward-thinking place with one of the biggest Gay Pride parades - and they're now just finishing up one of the biggest wind farms in Britain; just off the coast.

RPM4.jpg

The people here are always so proactive and turned-on. If you see something on the news, you'll probably see people picketing about it the next day.

Music is everywhere, on every street corner: in every venue to even just drifting out of someone's window. We wouldn't wanna be anywhere else right now.    

You are all so young but have accrued plaudits and great gigs. Does it feel daunting or have you sort of got used to the popularity and acclaim? 

Ah, thank you so much. Stop it! You're making us blush!

Yeh, it can be very daunting when you get big gigs come through that you know you need to go really well; but I think we've gained enough experience now that we can handle most things that might come our way.

We all know we can rely on each other as well to deal with anything big and daunting.  

Camden Rocks and Isle of Wight Festival were two big gigs this year. What were those experiences like? 

Fantastic.

Camden Rocks is always jumpin' and we always have fun there…and Isle of Wight was a first for us - but we had a great time as it's a really well-run festival and we got to hang out with some music friends of ours, Asylums and The Strypes.

We actually had a few of The Strypes (boys) see our set and the bass player Pete O'Hanlon come over after and tell us he really enjoyed it.  

IN THIS PHOTO: The band with James Peter Hunt at Isle of Wight

What upcoming gigs can you tell us about? 

Our next lot of dates are The Big Feastival on August 26th; RivFest on September 2nd and Radar Love on September 7th! 

Looking forward to all of them - because we love getting out and playing everywhere as much as possible. So, this time, getting up to ButeFest will quite the adventure. 110 Above:  looking forward to being a part of such a brilliant lineup; Big Feastival is (a festival) run by Jamie Oliver and Alex James from Blur - so we're hoping there will be cheese and a healthy school dinner on the rider! 

Radar Love, the brilliant club night in Derby; RivFest 2017 is special to us as it was set up to honour the memory of River Reeves - and the members of Viola Beach and their manager, who tragically lost their lives last February - and we had the honour of playing their first year.

The River Reeves Foundation is already doing amazing work in Warrington to support young talent with the money raised - and we're proud to have been asked back to play again this year.

IN THIS PHOTO: Berries/PHOTO CREDIT: Michele Britton

Are there any new artists you recommend we check out? 

Black Honey: Brighton lot, too; hung out with them a few times around town.

BERRIES: great all-girl three-piece with a great combination of hooks and Punk rawness.

Rex Orange County: particularly the track, Uno - which has some amazing and really poignant lyrics.

And…Cabbage: saw them at Glastonbury; was very impressed and even got to meet them after - and they were a great bunch of guys.  

IN THIS PHOTO: BERRIES

If you each had to select the one album that means the most to you; which would they be and why? 

Jack: The Rise and Fall of Ziggy Stardust and the Spiders from Mars by David Bowie

Because it helped me get through my latter-school years and showed me a world outside (of it) filled with possibilities. 

Callum: AM by Arctic Monkeys

Because it taught me not to be afraid to mix traditional Indie with other types of music - such as Rap and Dance etc. 

Miguel: Heartbreaker by Ryan Adams

Because it inspired me to start writing my own songs.

What advice would you give to any new artists starting out right now? 

I don't know if we're in a position to really give out much advice, yet…

But, if we would say anything, it would be to be ready for the long -haul and always keep pushing - and always try new things out of your comfort-zone.

Getting stuck in one thing and one place is the biggest of killers when it comes to advancing as a musician and creative. 

Finally, and for being good sports; you can name any song and I’ll play it here (not one of yours as I’ll do that). 

Fantastic.

Can you please play There She Goes by The La's - as it's one of our favourite songs and we wished we'd written it.

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FEATURE: Hip-Hop at Forty-Four: Street Prophets: Musical Progression and Social Inertia

FEATURE:

 

Hip-Hop at Forty-Four:

IN THIS PHOTO: The album cover of Eric B. & Rakim's 1987 Hip-Hop masterpiece, Paid in Full

Street Prophets: Musical Progression and Social Inertia

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IT is typical of Google that, when searching for results…

pertaining to the forty-fourth anniversary of Hip-Hop; the first options one finds are articles relating to their commemorative ‘doodles’ – a special design/interactive tool that appeared on their search engine a couple of days back. BBC Radio 6 Music celebrated the birth and evolution of Hip-Hop (Hip Hop Hooray) with a day of special programmes yesterday. It was a remarkable, authoritative and passionate examination of a genre that began, pretty much, from one man: Clive Campbell. Better known as DJ Kool Herc; he hosted a back-to-school party in the Bronx, New York on 11th August, 1973. That single, momentous event probably didn’t seem epic or groundbreaking at the time - but it has been credited as the time Hip-Hop was recognised as a genre. Defined by mixing, heavy beats and acute sampling/scratching: it started with modesty but certainly lit a fuse. It would a little while until the first commercial Hip-Hop album - Sugarhill Gang’s Rap Genius - was introduced to the public (in 1979).

IN THIS IMAGE: Ronald Reagan; who was President of America when Hip-Hop assimilated into the mainstream

There are debates as to whether forefathers pre-dated DJ Kool Herc and whether someone else snuck in and sowed the seeds. Conventional wisdom credits DJ Kool Herc, Afrika Bambaataa and Grandmaster Flash as the ‘Holy Trinity’ of Hip-Hop. It is debatable which had a greater effect on the explosion and noticeable nature of Hip-Hop: that back-to-school pioneering event from DJ Kool Herc or the social dissatisfaction that arrived when President Reagan came to the White House in 1981. There were murmurations and groundbreaking albums happening before that time – Rap Genius was the first time Hip-Hop ascended to the mainstream – but there was an acceleration and proliferation of outraged voices stepping up after Reagan’s appointment. I will talk about some of the best albums of the genres and the way the genre has evolved over the years but, for now, a social study. There is a haunting and troubling symmetry when we celebrate Hip-Hop’s birth. The movement/genre recruited its faithful off of the back of governmental ignorance and social poverty – the fact the community, the black community, for the most part, were being trodden on.

By the late-1970s; there was a hyperinflation of the racial divide, social inequality and political tension. Regan’s appointment to office was not exactly the turnaround and redemption many had wished for – being a Republican; he was unlikely to prioritise those less-well-off and struggling. That, back in 1981, caused greater division and cracks in the fabric of U.S. society. Out of the tensions and divides grew a band of artists who articulated, with passion and intelligence, the dissatisfaction and anger being felt by the people of America. Again, we assume it applies to the masses but it was the minority (the black community) who were worst affected – making it seem rather racially-motivated and oppressive. Of course, the whole of America was feeling strain but, as is the case now, there was racial divisionism and social alienation. The affected minority were not getting their voices heard: Hip-Hop was the counterculture explosion that gave its boldest and bravest the platform on which to campaign and sermonise.

IN THIS PHOTO: Scenes of the violence in Charlottesville, Virginia/PHOTO CREDIT: Samuel Corum, Andloua Agency and Getty Images

I mentioned how there was a rather ironic appropriateness we are celebrating the formation of Hip-Hop. One cannot ignore the news and the horrifying scenes coming out of Virginia. It is hardly conceivable what we are seeing happening in Charlottesville right now. Look at a BBC article and, be forewarned, there is some upsetting detail. One woman has been killed and many injured after violent clashes and terrorism – a car ploughing through a crowd of people. The sight of people being tossed through the air like a discarded tissue is enough to turn the stomach and cool the blood. I am not sure as to the exact reason for provocation but far-right white ‘supremacists’ must have been orchestrating and planning this riot for many months. Whether motivated by President Trump’s rhetoric concerning making America 'great again' – there has been nothing that could justify or rationalise this insane and degraded event. One, sadly, assumes there are racists in certain parts of America – the least-evolved and backwoods parts of inbred states!

IN THIS PHOTO: A shocking image from Charlottesville/PHOTO CREDIT: AP

The animals of Charlottesville that have brought the town into disrepute care not for human life or morals: their intention was to show, in some twisted way, why whites are a superior race. Trump’s response to the atrocities has been piecemeal and pathetic! In a rather aloof and unconvincing way; he has condemned the far-right and made it clear America will not tolerate such happenings. That is funny as one could easily blame Trump for this happening in the first place. If he wants to unleash "fire and fury" (as he promised the leader of North Korea, recently) then why not direct it squarely at the abdomens of the racists?! I say ‘abdomens’, because one assumes their brains and genitals are too microscopic to be affected by any weaponised reaction. It is sickening, in 2017, having to witness such hatred and division – that sound familiar?!

IN THIS PHOTO: President Donald J. Trump

If anything; it is worse now than it was at the peak of Hip-Hop. I am confident the reaction from the music world will be swift and unforgiving – barrels being unloaded in the direction of the guilty and Trump. The backlash and outrage on social media have proved how these ‘people’ – that can be seen in their modernised K.K.K. outfits – do not speak for the rest of the world. Even if these riots are confined to a small part of America: how can we be sure it will not spread and inspire like-minded factions to mobilise a similar battalion in another part of the nation?! We can’t, you know, but it seems shocking we should have to contemplate. In the late-1970s/early-1980s, there was balkanisation, economic gulfs and neighbourhood poverty – once-proud areas being reduced to ghettos because of the government’s cold and ignorant views of America. They, then, were unaware of ‘real’ American and how the honest, hardworking citizens lived. It seems, forty years down the line, they are as deluded and naïve as ever.

IN THIS PHOTO: Former President Barack Obama

One knows Trump will do nothing to quell the venom and assured his people – the fact his predecessor, Barack Obama, presently and retrospectively, seems to offer more hope is a sign of how scary Trump is a President. I shall get away from the issue but I know the titans of Hip-Hop will not let this one go. One imagines the likes of Kendrick Lamar, Prophets of Rage and Run the Jewels are inking up their pens and scribbling furiously. I will return to the social divisions and stagnation later but, before coming to the best Hip-Hop albums through the years, I wanted to source an article I have just discovered. Talking about Hip-Hop’s pioneer, DJ Kool Herc; a piece from The Guardian (in 2011) highlighted how much the Hip-Hop community owes to their forefather. Suffering illness during this time; the piece scorned those who did not play benefits and raise money to fund Herc’s treatment:

“There are few pioneers of any musical form who could truly be considered the master architect of a genre – but Herc has that distinction. Hip-hop doesn't just have a family tree, it has a birth certificate: the hand-drawn flyer for the party Herc threw in the basement of 1520 Sedgwick Avenue in the Bronx on 13 August 1973, which so many people turned up to, they had to move it outside, to the nearby Cedar Park. His "merry-go-round" approach – extending the percussion break by playing a second copy of the same record on one turntable as soon as the break had finished on the other deck – gave the world the concept of the breakbeat. Breakdancing, rapping over breakbeats, sampling and loop-based dance music all began that night. Although he is generally seen alongside Afrika Bambaataa and Grandmaster Flash as one third of hip-hop's founding "holy trinity", Herc is first among equals. While Bam was the "Master of Records", his encyclopaedic knowledge of different music adding to the emerging genre's stylistic and sonic palette, and Flash was the innovator whose aptitude for electronics enabled his invention of cutting, cueing and (perhaps: his protege Grand Wizard Theodore claims the invention, though Flash demurs) scratching, Herc was the one who laid the foundations on which they built.

 Yet unlike practically everyone who followed him, Herc did not manage to monetise his innovations. Bam and Flash both formed groups with rappers, got signed to key independent labels, and made worldwide hit records. By contrast, Herc was more about the size of the sound system and the atmosphere of the parties he threw, neither of which were things he could duplicate and sell. He stayed in the rec rooms and parks, rocking the beats for the people of hip-hop's epicentre, paying little attention to DJ innovators or the politics of the record industry. Maybe he paid the price for not trying to forever stay on the cutting edge of the genre he accidentally founded: but if you were putting it in the sort of language rappers have tended to use down the years, he never sold out, and he kept it real. His prize for this was a ton of respect, but virtually no cash.

IN THIS PHOTO: Run-D.M.C. and Posse captured in Hollis, Queens (New York) by Janette Beckman in 1984

With the honourable exceptions of Public Enemy and the Chemical Brothers, it looks like pretty much anyone involved in the business of hip-hop, breakbeats or sample-based music owes Herc big time. Jay-Z once rapped that his approach to the industry was to make it pay for the way it mistreated hip-hop's innovators ("I'm overchargin' niggas for what they did to the Cold Crush," he wrote in Izzo, referring to the Cold Crush Brothers, whose leader, Grand Master Caz, had his rhymes used by the Sugar Hill Gang on the first ever rap single) – but words only go so far”.

I will not sub-categorise and headline the segments of this piece but one must forgive that lack of discipline – the fists are still clenched reading the updates coming out of Virginia. Although there is utter f*cking chaos and insanity happening in the U.S. – nothing new there! – it seems like a new, intent wave of Hip-Hop will form. There have been pieces that have studied the etymology of Hip-Hop and the neighbourhoods/people that helped build its foundations – and ensuring it reached the masses. I know the next year-or-so will lead to some explosive and pioneering Hip-Hop albums.

To me, the best Hip-Hop albums were created in the 1980s. It is not shocking considering the factors that contributed to the rise of the genre – artists reacting to the dislocation and instability around them. Aside from confident raps, scratching and socially-aware lyrics: one of the key corners of the Hip-Hop sound has been sampling. It is common in almost all of the best Hip-Hop albums of all time. During the 1980s, there were some fantastic Hip-Hop albums springing up. Criminal Minded by 1987; Run-D.M.C.’s Raising Hell; 3rd Bass’ The Cactus Album; LL Cool J’s Bigger and Deffer. Those are all enduring and defining works that have survived time and influence artists today. One of the biggest albums of the decade – that did not necessarily go overboard on sampling – is/was N.W.A.’s Straight Outta Compton. A humorous album that many felt raised more hell than it did answers: it was provoked and propelled by the same anger and problems that kick-started the Hip-Hop movement. It is an angry and evocative work that remains the group’s most-famous record. Look at those heavyweight Hip-Hop-samplers and I bring to you Beastie Boys, De La Soul; Public Enemy - and Eric B. and Rakim. The latter can be seen as one of the first albums to use sampling in such a way as to unify disparate genres and artists.

IN THIS PHOTO: The cover art to Beastie Boys' album, Paul's Boutique

Paul’s Boutique arrived in 1989 and many can argue it is a finer album. Paid in Full came two years earlier and is considered one of the greatest albums ever. It, not only gave Hip-Hop artists the confidence to use sampling in their work, but directly nodded to where the genre came from. One of the most remarkable things about Hip-Hop is the fact it is not an organic and lab-created style of music. Paid in Full is credited as a landmark album of Hip-Hop’s golden age. Rakim's rapping, which pioneered the use of internal rhymes in Hip-Hop, set a higher standard of lyricism in the genre and served as a template for future rappers. The album's heavy sampling by Eric B. became influential in Hip-Hop production. It is a benchmark, for sure, and one that assimilated Jazz textures and multiple sounds into the Hip-Hop boiling pot – a gauntlet that their contemporaries learnt from and integrated into their own work. 3 Feet High and Rising arrived (in 1989) and was another one of those late-1980s albums that took from Paid in Full and nodded to those golden pioneers.

IN THIS PHOTO: De La Soul

De La Soul employed humour, a unique positivity and uplift that seemed to contrast a lot of the Hip-Hop material at the time. Fellow Hip-Hop legends like Public Enemy would take a more direct and aggressive road to realisation – De La Soul seemed like their Angel (to The Devil), The skill and breadth of De La Soul’s sampling meant 3 Feet High and Rising was listed as one of the finest albums of the 1980s. Jazz, Jazz-Rock and Pop were all poured into the mix. If not as socially-conscious as other albums of the time: it balanced humour and seriousness; put disparate songs – Hall and Oates, Steely Dan and George Clinton were all sampled – together in one. Beastie Boys’ 1989-album, Paul’s Boutique shouldn’t have received the mixed critical reception it did. Considering the like of De La Soul and Eric B. and Rakim had shown how accessible heavily-sampling albums could be; there was a comparative lack of empathy towards the New York trio’s masterpiece. It took years for true acclaim and realisation but, in that wonderful era, it seemed like a natural thing. Using different samples than De La Soul:

IN THIS PHOTO: Public Enemy

Using different samples than De La Soul:Beastie Boys were the vocal/lyrical link between Public Enemy and De La Soul. They had the anger and swaggering attitude but laced lashings of wit and humour into their music. Their rhymes are legendary and their rapping ability cannot be faulted. Hip-Hop artists at the time were using older styles of music and modernising them for new audiences. The same way we can trace modern Rock back to Rock and Roll of the 1950s: one can look at styles like Jazz and Soul as vanguards and inspirations for Hip-Hop. The fluidity and experimentation of Jazz seemed like the natural parent of a genre synonymous with its flows, inventiveness and boldness. It was Public Enemy’s magnum opus, It Takes a Nation of Millions to Hold Us Back. It seems strangely prescient and clairvoyant. An album, nearly thirty years on, seems to represent a sense of racism and outrage.

With Chuck D still in circulation (with Prophets of Rage) one imagines his mind is starting to work on new material. In 1989, the Hip-Hop world had not witnessed anything as articulate, groundbreaking and impactful as Public Enemy’s masterpiece. Maybe N.W.A. had the same anger and aggression but did not channel it into anything as fascinating and relevant as It Takes a Nation of Millions to Hold Us Back. With this L.P; The band wanted to write a Hip-Hop equivalent of Marvin Gaye’s What’s Going On. Whilst their debut, Yo! Bum Rush the Show was largely shunned in favour of the R&B/Rock mainstream in 1987 – there was no ignoring their follow-up in the wake of a Hip-Hop takeover. The Bomb Squad, the group’s production team, produced thick layers to compliment Chuck D’s fiery lyrics; Flavor Flav’s lighter interjections and a myriad of sounds – breakbeats and scratches; incredible samples and some of the most intense performances on record. It remains one of the best albums of all-time and propelled Hip-Hop into the 1990s.

Not only did It Takes a Nation of Millions to Hold Us Back inspire a generation and unify ample samples with a unique identity: the album, in itself, has been sampled by the likes of Madonna (Justify My Love) and Beastie Boys (Egg Man). Not to fly through the ensuing three decades but we have covered the best Hip-Hop albums. The 1990s picked up the mantle and, whilst social concerns and divisions were not the same as the decade previous; the legacy laid down by Beastie Boys and Public Enemy gave contemporaries the confidence to use more sampling and push boundaries. Nas’ Illmatic, Dr. Dre’s The Chronic and A Tribe Called Quest’s The Low End Theory took the origins of Jazz and Hip-Hop and updated it for the early-1990s. One can bring in Funk and Soul that, together with Jazz, relies on a sense of flow, improvisation and rhythm – which were being appropriated and adapted by the Hip-Hop masters of the 1990s. Mos Def’s Black on Both Sides and Lauryn Hill’s The Miseducation of Lauryn Hill were two of the defining works of the late-1990s.

IMAGE CREDIT: Roman Genn

Many assume Hip-Hop to be male-dominated and, whilst true to an extent, Hill’s sole solo album showed there was a generation of female innovators unafraid to join the male-heavy landscape of Hip-Hop. Hill, like her peers, addressed issues affecting her people/community but looked at love and personal demons. She showed it was possible to mix social commentary with more traditional songs and create a stunning work of art. Hill was bringing in Reggae, Roots and Soul (more than Jazz and Funk) – showing how many styles Hip-Hop was inspired by. As opposed to the crate-digging samplers of the 1990s – Lauryn Hill was among a new breed relying more on original compositions but still being innovative and expressive with regards sounds and genres. Aside from the occasional piece of genius sampling album – DJ Shadow’s Entroducing…… in 1996 – the more modern brand of Hip-Hop was defined by a grittiness and directness.

More in common with the acceleration and passionate deliveries of Public Enemy: the best Hip-Hop albums of the '00s have retained the affectionate nods to the past but updated Hip-Hop. Take modern geniuses like Kanye West and Eminem and you hear them dip into the annals of music’s past and scatter Soul, Rock and early-Hip-Hop samples into their music. Eminem is one of the few white Hip-Hop artists of the last to hit the mainstream in the last few decades – showing it is a genre that is not confined in terms of race. Social poverty affected the black community, and still does, in the 1980s – hence its popularisation and explosion – but modern Hip-Hop artists are reacting to the breakup and fragmentation in their nation – something that affects everyone. I have mentioned mostly American artists but, aside from a few British acts like The Streets, the most compelling Hip-Hop albums from all time have been American.

Eminem’s The Marshall Mathers LP arrived right at the start of the '00S and mixed humour, outright aggression – the author lambasted for his homophobic, misogynistic and sexist lyrics – and incredible confidence. The extraordinary raps and incredible flows made the album of the defining works of the decade. The likes of Eminem and Kanye West were addressing issues affection society of the time. Eminem, when he was not rallying against lovers and accusers, was talking about the pressures of fame and nature of popularity. Kanye West, on The College Dropout, talked about materialism and sexual identity. It brought in samples of Michael Bolton, Aretha Franklin and Marvin Gaye (among others) and ensured Soul was still part of the Hip-Hop landscape. Eminem was using Rock samples/strings and, between them, created some of the most astonishing, inventive and compelling music of the decade.

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IN THIS PHOTO: The album cover of Kendrick Lamar's 2015 album, To Pimp a Butterfly

Outkast’s phenomenal double album Speakerboxxx/The Love Below (2003) was a landmark record and one of the best records of the '00s. Kanye West’s Yeezus; Frank Ocean’s Channel Orange and Kendrick Lamar’s To Pimp a Butterfly show there is plenty of life and inspiration in modern Hip-Hop. One can draw a line between Lamar’s 2015 epic and albums by Public Enemy and N.W.A. There is a lot of anger and fracture in America: ensuring this is represented through a medium like Hip-Hop is essential. It is encouraging seeing Hip-Hop artists retain the components and D.N.A. of the pioneers. Kendrick Lamar, on To Pimp a Butterfly, mixed Jazz elements and instrumentation against tougher and tauter raps – that balance of defiant verses and smoother horns went into a remarkable record.

IN THIS PHOTO: An exciting new British Hip-Hop talent, Loyle Carner

I opened by looking at the tensions and problems affecting Virginia right now. The wreckage and bloodshed of yesterday will take a long time to clean. The stains and repercussions of the horror will endure and there is a lesson for America to learn from. If its music and Hip-Hop artists have evolved and fostered something inspiring and beautiful – they are being let down by their government and worst elements. It is the minorities (black community) affected and afflicted by hatred from another minority (the far-right). In the same manner President Reagan compelled anger and rebellion in the early-1980s: President Trump seems to share a lot of the same components. It is scary seeing two very similar leaders oversee racial tensions and division. Reagan’s leadership (or lack of...) led to the commercial birth of Hip-Hop: current violence and aggression will, in my view, lead to a new wave of Hip-Hop meaning and aggression. Artists will not idly stand by and watch these kinds of things go down. It takes an inept President and the monkey-brained faction of racists to provoke worldwide condemnation and revulsion. It seems, since the birth of Hip-Hop forty-four years ago, society has really not progressed and learned from its mistakes. It is the hate-fuelled minorities that are dragging things down. I am pleased seeing Hip-Hop celebrated and given proper honour but worry those pioneers and innovators will be spinning in their commercial graves knowing their important and powerful messages have not been taken seriously.

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IN THIS PHOTO: Hip-Hop pioneer, Afrika Bambaataa

Yes...they have inspired musicians and changed the fabric of music but they are being ignored by those who have the power to change policies and ill practices. Let us hope it does not take another racist rampage like yesterday’s for us to realise more needs to be done; how timely the landmark Hip-Hop albums are – and where we need to improve. Against all the sourness and disgust that is being felt around the globe; let’s be thankful for DJ Kool Herc and that incredible night forty-four years ago. He helped create and inspire a genre of music that, to me and many, is one of the finest and most inspiring. It has evolved over the decades but produced some of the greatest albums in history. Long may that continue and, as we remember those affected in Virginia; let us pay homage to a remarkable genre of music – created by a phenomenal human. Tonight, you know, let’s all get a drink in hand and…

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IN THIS PHOTO: DJ Kool Herc

RAISE a glass to him!

FEATURE: Elvis Presley: The King of Rock and Roll

FEATURE:

 

Elvis Presley: 

 The King of Rock and Roll

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IN three days; it will be forty years since Elvis Presley…

left the world. Fortunately, I was not alive to hear that sad news because God knows how extraordinary and life-changing it would have been for the people – not only his fans but those who did not recognise his music! One cannot celebrate and talk about Presley without talking about him as a phenomenon. Nearly every other musician who has ever lived could be seen as such: that is not the case with Presley. I guess the only other musician death that would have had that biblical impact as John Lennon. I feel, unlike Lennon, Presley stewarded in and invented what we understand to be Rock. His Rock and Roll/Blues mixtures were unheard of and completely revolutionary. With the likes of Chuck Berry; he helped put Rock and Roll into the mainstream and reinvented music of the time. That is not an exaggerated and one cannot underestimate the importance of his debut album, Elvis Presley. Before I go on, as an overview and distillation unfamiliar with Presley’s birth and rise, a Wikipedia summary of his life:

“Elvis Aaron Presley[a] (January 8, 1935 – August 16, 1977) was an American singer and actor. Regarded as one of the most significant cultural icons of the 20th century, he is often referred to as the "King of Rock and Roll" or simply "the King".

Presley was born in Tupelo, Mississippi, and relocated to Memphis, Tennessee with his family when he was 13 years old. His music career began there in 1954, when he recorded a song with producer Sam Phillips at Sun Records. Accompanied by guitarist Scotty Moore and bassist Bill Black, Presley was an early popularizer of rockabilly, an uptempo, backbeat-driven fusion of country music and rhythm and blues. RCA Victor acquired his contract in a deal arranged by Colonel Tom Parker, who managed the singer for more than two decades. Presley's first RCA single, "Heartbreak Hotel", was released in January 1956 and became a number-one hit in the United States. He was regarded as the leading figure of rock and roll after a series of successful network television appearances and chart-topping records. His energized interpretations of songs and sexually provocative performance style, combined with a singularly potent mix of influences across color lines that coincided with the dawn of the Civil Rights Movement, made him enormously popular—and controversial.

PHOTO CREDIT: Gillian G. Gaar (from the book, Elvis: The Legend)

In November 1956, Presley made his film debut in Love Me Tender. In 1958, he was drafted into military service. He resumed his recording career two years later, producing some of his most commercially successful work before devoting much of the 1960s to making Hollywood films and their accompanying soundtrack albums, most of which were critically derided. In 1968, following a seven-year break from live performances, he returned to the stage in the acclaimed televised comeback special Elvis, which led to an extended Las Vegas concert residency and a string of highly profitable tours. In 1973, Presley featured in the first globally broadcast concert via satellite, Aloha from Hawaii. On August 16, 1977, he suffered a heart attack in his Graceland estate, and died as a result. His death came in the wake of many years of prescription drug abuse.

Presley is one of the most celebrated and influential musicians of the 20th century. Commercially successful in many genres, including pop, blues and gospel, he is one of the best-selling solo artists in the history of recorded music, with estimated record sales of around 600 million units worldwide.[5] He won three Grammys, also receiving the Grammy Lifetime Achievement Award at age 36, and has been inducted into multiple music halls of fame”.

PHOTO CREDIT: Getty

That is, of course, a brief biography – the webpage gives a lot more detail and depth – but it is a pretty good assessment of a true legend. Many call Presley the King of Rock and Roll – I cannot argue against that! To me, he is someone I appreciate retrospectively and vicariously. I was not alive during his lifetime so did not get to experience the brilliance and rush of his musical genius. The artwork to Elvis Presley’s debut album has been much-copied – The Clash on London Calling, for example – and it was a record that spent ten weeks at number one on the Billboard Top Pop Albums chart. In 1956, there were rumblings of Rock and Roll. People had heard of Buddy Holly but there was nobody who propelled the genre into the spotlight and helped changed the landscape of modern culture.

The young, beautiful and peerless talent of Presley was a fire-breath of revelation at a time where there were so much beige and ‘old-fashioned’ sounds. Here, a cool and swaggering God created the first million-selling album of the genre. No denying how necessary and universal his album was. Heartbreak Hotel was a monster hit for Presley so, following that success; RCA wanted its promising star to put an album out. Presley and his band sojourned to the studio but, before they did, penned moments and lines that would appear on that decade-defining record. In the 1950s, today I guess, there was that pressure to release the ‘best’ songs as singles and have ‘lesser’ tracks as album material. The record company wanted those big songs that appealed to the young – to get the dancefloors moving and the diners/clubs jumping. The recording of that debut was not that smooth. Presley had a few smashes to put in but, requiring a minimum length of time/amount of songs forced The King to put five unreleased songs onto the record – including Just Because and Trying’ to Get to You. Covers formed the album but the reason Elvis Presley was such a landmark was the way it transformed the original material.

Money Honey (Jessie Stone) and I’m Counting on You (Don Robertson) were turned into near-religious experiences in Presley’s hands. He showed he could tackle R&B, Rock and Roll and Blues and craft his own unique voice. Even a cover of Little Richard’s Tutti Fruitti sounded new and reborn – some honour given the stature of its creator. The entire album was released as singles - which meant the public has full exposure and access to that incredible release. At the time, the debut album was a revolution and revelation. Today, there is literally no way of quantifying the effect and influence that single album has had on the modern landscape. In the way it changed the 1950s and popular culture: that, in turn, influenced 1960s artists and the biggest artists of the time – that has passed through the generation and brought music to where it is today.

PHOTO CREDIT: Gillian G. Gaar (from the book, Elvis: The Legend)

Subsequent albums like Elvis (1956) – with the likes of Rip It Up and Long Tall Sally included – it was another smash and commercial hit for the Presley. In 1956, Presley was the first artist to see both of his albums hit the number one spot in the charts. The fact he managed to produce two albums in the space of a year would seem almost alien today – quite a few artists had that productivity in the 1950s and 1960s. One could argue there was an immense aesthetic appeal to the young singer. Today, Presley would have to battle through hordes of iPhone-wielding teens – not giving him any eye contact – but, back in the 1950s, he was an absolute sensation. It was not only his natural beauty but the incredible voice that hooked in the fans. There has been nobody that has managed to rival that mix of husky depth and youthful vigour. There are few ‘unique’ singers today – most sound like someone to an extent – but Presley certainly had no equals. Couple that with a stage presence and hip-swivelling allure that topped off that true Rock package and one had a ready-made icon. It seemed to happen right from the off. So many contemporaries had to work hard to get the same kind of success but Presley was thrust into the limelight.

The young star grew up inspired by Gospel music and, according to his mother, from the age of two, the boy would dance in the aisles of the Assembly of God church in Tupelo. He attended all-night Gospel sing-alongs later and this all cumulated in Presley’s initial musical incarnation as part of The Statesmen – emotive and thrilling singing from lads dressed in dapper and eye-catching suits. It is unsurprising Presley’s stage demeanour would captivate and move as easily as it did. That spiritual and religious affinity flowed through the blood (and groin) of the legend. During the 1950s and 1960s, of course, there was segregation, race riots and racism – look at the news today and we have not progressed that far! – so it was quite unconventional for artists to back black artists and show a love of genres like Gospel and R&B. That race ‘issue’ materialised when Presley would conduct radio interviews. Many would call thinking he was a black artist – given segregation and racial tensions; that was a no-no – and that might seem flattering to many. Luckily, Pressley was not as ignorant as many of his fellow Americans and showed his respect and support of the black community.

This openness and universal love were reciprocated and, before long, Presley was a big film star getting roles in Jailhouse Rock (1957), G.I. Blues (1960) and Blue Hawaii (1961). The fact the musician was having films written for him is something we could not imagine in this day and age – there is no star that has that demand and popularity. If Presley’s acting chops were impressive (if not on a par with James Dean) he certainly had the same cool and command as the Hollywood idols of the day. His early-1960s albums might not have been as meteoric and popular as his debut – still commanding enormous respect – but his 1960 album, Elvis Is Back! can be considered one of his finest. Fever, The Girl of My Best Friend and Like a Baby, like his debut, was ground-breaking and conic.

IN THIS PHOTO: Presley in Jailhouse Rock (1957)

If his 1956-debut was marked by its fusion and progression of Rock and Roll: Elvis Is Back! bonded more to Pop and was the start of a more Pop-driven period for Presley. It was this album where Presley’s voice hardened and the arrangements became more sophisticated; he was tackling a wider range of songs and experimenting with new genres – performing ballads and love songs alongside the megahertz-thrill one heard four years earlier. It seemed like the album title was not ironic: it was very much a comeback and regeneration. Aside from film soundtracks – Blue Hawaii and G.I. Blues in the early-1960s – there was not a lot of studio action from Presley before the 1970s. That film stardom and increasing popularity drew his attention elsewhere and, conceivably, started a course that would end in tragedy.

It is hard to say how linked increased fame was to his untimely death but there was a lot of pressure on his shoulders. Growing larger – in terms of success and girth – meant health problems and creative dips followed. The world had never experienced a phenomenon like Elvis Presley – and have not since – so it was understandable the megastar took advantage of the acclaim and demands. Back to his debut years and it important to note just how needed Presley’s introduction to music was. Artists like Little Richard praised how Presley let black music through. At a time, when there was segregation and homogenisation in the music industry – certain genres being heard by black audiences; other genres reserved for white people – Presley broke barriers and helped put R&B into the wider arena. President Jimmy Carter recognised his pioneering music and how his rebellious attitude electrified people of the time and turned him into an instant icon.

IN THIS PHOTO: Graceland

That blend of sexuality, showmanship and explosive music was the catalyst for a social change and betterment. It is hard to say how influential Presley was with regards changes in attitudes to black Americans but it is clear his music transformed the world. If early albums like A Date with Elvis (1959) and For LP Fans Only (1959) showed how prolific and consistent he was in the 1950s: the years that followed saw less music but no real slowing of his popularity and work. Presley was putting more time in his film career and live gigs. The 1972 album, He Touched Me, was, debatably, the most-successful album of Presley’s 1970s. His third and final Gospel album showed a focus and quality previous albums lacked and his final album, Moody Blue, contained some pearls. I have not even mentioned Presley’s famed and hallowed home of Graceland. It has seen millions of tourists flock in worship; Paul Simon talked about it on the Graceland album – it is the most-revered and iconic musical home ever (more so than Prince’s Paisley Park and Michael Jackson’s Neverland Ranch).

IN THIS PHOTO: The ‘Jungle Room’ at Graceland - where Presley and friends recorded music/PHOTO CREDIT: Gillian G. Gaar (from the book, Elvis: The Legend)

It is a monument to an artist who managed to transform music in ways we cannot fully appreciate. I shall not go into his final hours – for they are grotesque and appalling sad – and his romances and celebrity lifestyle. It is the music, image and magic that elevated a promising young singer to the King of Rock and Roll. That incredible debut ignited and sparked a Rock and Roll riot; later albums helped popularise and evolve Pop and Gospel – at every stage, in every decade, Presley was transforming music and breaking boundaries. That incredible personality helped bring physicality, emotion and incredible candour to the music. Listen to songs like In the Ghetto and one gets shivers and shocks – it is a marvellous and haunting rendition that showcases how tender and transcendent the master could be. The fact Presley could awe when talking about social poverty as he could something as (relatively) shallow as jukebox joints and young romance – how many of today’s artists can say they managed that?!

Live albums such as 1970’s On Stage showed what a captivating and accomplished live performer Presley was. From his Vegas period through to his return to that Memphis sound: the King of Rock and Roll managed to cast himself as that casino showman or pastor without much strain. He had these guides and period that reflected his progression from the Rock and Roll innovator to this glitzy showman. Maybe the Vegas era did have a hand in his addiction to food and drugs; that pressure and fame meant Presley self-medicated and self-destructed to an extent. There is something sad and tragic realising he was only forty-two when he died. Who knows how far he could have gone and where he would reach was he better safeguarded and advised. It is those live shows, in my mind, that perfectly demonstrated why Presley is an icon whose importance and legacy cannot be disputed. In a few days, we will mark forty years without him in the world: a timely reminder of all the terrific music he left behind. From Hound Dog and Love Me Tender (1956) to Jailhouse Rock (1957); It’s Now or Never (1960) and Crying in the Chapel (1965) – such a range of iconic tracks and wonderful moments. Strip away Colonel Parker and the Aberbachs – great band name, by the way! – and the control they exerted over Presley’s career (and, how, that could have led to his untimely demise) and the 'Memphis Mafia' – the group of friends who Presley discovered in the early-1960s and opened his world to excess and degradation – and let’s focus on the music and legacy. I feel nobody has left a bigger mark on the world than Elvis Presley.

IN THIS PHOTO: Presley in Jailhouse Rock (1957)

From that monumental debut to his incredible raft of number-one singles: nobody has done more to push music forward. That can be contested but I stand by that assertion. Regardless of your appreciation of the music: you cannot ignore the importance of Presley and what he did to music. It would be hard enough breaking boundaries now: in the 1950s, against a tide of racial segregation, he managed to, in a way, unify black and white communities but de-segregation music. That was noted by politicians and legendary peers; in a way, it gave people like Paul Simon the courage to do likewise in the 1980s – when he performed with Ladysmith Black Mambazo during Apartheid-era South Africa (for the Graceland album). He has sold more than a billion records; broken more than a billion hearts but, in sheer terms of numbers…

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THERE is no one as spectacular and influential as him.

INTERVIEW: Steve Rodgers

INTERVIEW: 

 Steve Rodgers

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QUITE a few artists have some famous ties but when it comes…

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to Steve Rodgers; he has quite a prestigious and illustrious background. His father is the legendary musician Paul Rodgers – his sister, Jasmine, one of the finest new artists in the U.K. He has seen his work praised by Jimmy Page and Roger Taylor. There is no doubt Rodgers has witnessed a busy and exciting start to his career: toured and performed alongside other artists and marked himself as one of those songwriters to watch.

I ask Rodgers about his new single, I Will Grow, and working with producer Ken Nelson; what to expect from his upcoming album and some of those artists he tips for future success...

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Hi, Steve. How are you? How has your week been?

It’s been great, thank you – how are you?

For those new to your work; can you introduce yourself, please?

I'm a singer/songwriter from the U.K. - who has just finished a new album with producer Ken Nelson (Coldplay, Snow Patrol; Gomez, Paolo Nutini) and mixed by Adrian Bushby (Muse, Foo Fighters)

I Will Grow is your new single. What can you tell us about its inspiration and what it means to you?

I was at a gig and the promoter’s girlfriend was a life-coach - and was asking for some music for her website. I felt that it had to be a piano song. I went home and wrote the song and sent it to her the next day.

It's about how 'life' can happen to all of us: no matter our background; it’s about how we pick ourselves up time after time; how we overcome our struggles. We either sink or we grow. We have to adapt and learn to succeed - even when life is being hard on us.

It’s about being triumphant in the face of adversity.

Ken Nelson produced the track. What was it like working with him?

It was great.

He is fantastic at getting the right sound. It’s exactly how I wanted to record the album: very organic, no Auto-Tune – what you hear is what we play. I love some of The Beatles' albums where every song had a different vibe - and that's what I tried to do with this album.

So, we have songs that are full-electric band: just a piano, recorded live; acoustic band or just a guitar etc. We recorded at Elevator Studio in Liverpool at a time when the city was having a celebration of music, too - which was great.

On every street corner, there was a piano left standing for passers-by to play. It was great to hear buskers, school-children; Classical, Jazz and Blues musicians; mothers and office workers creating music.

The video sees you in woodland, playing the piano. What was it like filming there and do you think the images/setting act as a metaphor for the song’s messages?

I was brought up there - so, it’s almost my back garden.

Yes; climbing a hill is a bit like life I guess: it’s enjoyable but can be hard at times – but ultimately growing and learning makes us feel alive.

PHOTO CREDIT: Jane Judd

Will the song form the basis of an E.P. or album? What is in the pipeline?

Yes, I have.

My first album, called Steve Rodgers, is being launched this October.

The likes of Jimmy Page and Roger Taylor have heaped praise on you. Is it quite scary getting that kind of kudos from legends?! Does it motivate you to keep recording?

No, it’s not scary.

It's a huge, huge compliment and icing on the cake to what I do already. To be out there doing what I love, and having an audience enjoy it, is what it’s all about.

Your dad is Free/Bad Company’s Paul Rodgers. Does your dad offer support and have you learn a lot from him, as a musician?

I've had to figure a lot out myself and I like it that way - because it means I've earned it. I have, of course, learnt a lot by just being around him - and hearing him sing and play at home; as well as on stage.

He's always been very encouraging. We recorded a charity song together called This Place Called Home - about all the steelworks shutting down in the U.K.

The money goes to Zoe's Baby Hospice in Middlesbrough - where my dad and family come from. It was great to watch him in the studio as an adult and see how focused he is on everything within the song.

I have met and reviewed Jasmine Rodgers. It seems there are a lot of very talented musicians in the family! Any plans to work with her anytime soon?

We have spent ten years in the same band, Boa; travelled and toured and recorded two albums – plus, done an acoustic tour together.

So, we have kind of done that already - but I think we would definitely do it again.

What was it like growing up in the family household? What kind of music were you listening to and did famous musicians often drop by for a cuppa?

It was how you would imagine...

Dad would be in the studio; my sister on the guitar (in her room) and me on the piano, downstairs. Earlier on, Dad had always tried to steer us both away from the 'business' as it can be tough. However, we would see him singing his heart out around the house or running upstairs with band members - and we thought: ''Hang on, he's having way too much fun here in this 'business".

I used to borrow dad's L.P.s and, so, I'd be introduced to whatever he had - like Albert King/Born Under a Bad Sign; Miles Davis/Tutu; Holst/The Planets – I remember I listened to a lot of Blues (for a thirteen-year- old: really old Blues, too) and I loved it.

Yes, we would often have famous people stop by: Jimmy Page, Peter Grant (Led Zeppelin/Bad Company’s manager); Bill Wyman and Bryan Adams - amongst the ones I can remember.

Your new work is, in my view, your most confident and memorable. How would you say you have changed and evolved since the early days – in your band, Boa, where you released two albums, for example?

Thank you very much.

I reckon, back then, I was more focused on how the music sounded – whereas, now, I feel I have something to say. I guess I felt lost for many years and wanted to find answers.

I think, like most of us, we're wondering what it’s all about - and is there a better way to live…to thrive rather than just exist.

So...it comes out in the songs along with heartbreaks and moments of real joy.

Where can we see you perform this year? Do you have any tour dates coming up?

Yes.

I'm really excited (to be) coming back over to play with my band on a U.K. tour.

OCTOBER

Friday 20th: The Bull Theatre, Barnet

21st: Cranleigh Arts Centre, Surrey

23rd: Waterfront Studio, Norwich

26th: The Diamond, Notts.

27th: The Globe, Newcastle

28th: The Salty Dog, Northwich 

29th: The Cavern Club, Liverpool

30th: The Speakeasy (at The Voodoo Rooms), Edinburgh

 IN THIS PHOTO: Jasmine Rodgers

Are there any new artists you recommend we check out?

No; just me! L.o.L

Yes. Obviously my sister, Jasmine Rodgers.

Scott Matthews is a favourite of mine.

If you had to select the one album that means the most to you; which would it be and why?

Any Led Zeppelin album – it always feels so warm and speaks of some other force that exists Plus...the musicianship is stellar.

What advice would you give to any new artists starting out right now?

I'd say get a great team of people behind you that love what they're doing.

Finally, and for being good sports; you can each name any song and I’ll play it here (not one of yours as I’ll do that).

Great, thank you…

Birdy – Wings

(Thanks again for the interview. Warm regards, Steve).

__________

Follow Steve Rodgers

TRACK REVIEW: Cormac O Caoimh - Silence and Sound

TRACK REVIEW:

 

Cormac O Caoimh

 Silence and Sound

 

9.5/10

 

Silence.jpg

 Silence and Sound is available at:

https://cormaco.bandcamp.com/album/silence-and-sound-single

GENRES:

Singer-Songwriter; Folk

ORIGIN:

Cork, E.I.R.E.

RELEASE DATE:

15th September, 2017

The album, Shiny Silvery Things, is available at:

https://open.spotify.com/album/7x9gKK4KX0B1Vg7zJXv41k

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I always aim to keep reviews relatively brief…

but, when approaching a subject, find myself going on forever! That is going to be the case when I tell you about Cormac O Caoimh. When assessing O Caoimh; one must talk about a number of things. I shall start, I think, by looking at Ireland and the variety of landscape – not only geography but musical. Then, I will come to investigate more established/mature artists and longevity in the music industry. From there, rather niche, I want to look at Joni Mitchell’s album, Blue – as an example of a Folk album that has stood the test of time. O Caoimh’s songwriting has been heralded and celebrated by big publications and gained kudos around the world – I need to address that. Finishing off with a word about the underappreciated nuances and pleasure of a finely-crafted lyrics. Let’s talk about Ireland/E.I.R.E. and the sheer depth of its art. Yesterday, when reviewing Dublin-based Indie-Folk artist Blake’s Fortune (John Lennon); I was stunned by the artists coming out of the capital – so many different flavours and varieties of a musician! It is amazing how many great musicians Dublin has in her midst. I have never been there but, from reliable testimony, there is a very strong and productive music economy. That does not surprise me because, looking at O Caoimh, and one discovers a musician who feeds and writes from that energy and supportiveness. Although he is from Cork; that gives me chance to look at that part of the country. Many might look befuddled and perplexed when being tasked with naming famous musicians from Cork. It is a part of the world not many are over-familiar with. I, myself, have a little knowledge of the place but, bringing to mind a couple of artists, it is clear there’s a healthy music economy there. Miracle of Sound (Gavin Dunne) has made headlines because he has wracked-up millions of views on YouTube. His speciality is writing songs based on fictional characters – including those from Breaking Bad and Guardians of the Galaxy. The music, it has been written, provides uplift and hope for a long of young people; a niche and original take on songwriting – no wonder he has amassed a loyal fanbase.

Altar of Plagues and Simple Kid are (diversely) two artists that call Cork home – it is a county that has produced some fine musicians but does not give the credit it deserves. E.I.R.E. is a wide and varied landscape so, depending which part you travel to, the sound is likely to change. What amazes me about Irish music is the fact people like Cormac O Caoimh are world-class and established – yet there are many here yet to discover him. That is not his fault but the media, to an extent, who tend to stick with particular kind of artists. I often wonder whether we overlook certain nations and genres because it does not fit into the traditional moulds and commercial remits. Regardless of sound and quality; music should be a meritocracy that promotes the finest and most pure – rather than those with a certain look, mannerism and attitude. O Caoimh is a notable and dignified artist who has crafted some of the world’s finest music – over the years – and is one of those songwriters we should use as a guide and inspiration. There are few who can pen a lyric like him and I wonder how much that has to do with his surroundings. I mentioned how evocative and diverse the Irish landscape is. Such is the beauty of the surroundings; songwriters cannot help but be moved and compelled by what they see. I know O Caoimh borrows and sources from his own life but I wonder how much of nature goes into that extraordinary music. It is interesting to ponder but, one knows, the nation, in general, is a key Muse. One wonders whether O Caoimh would produce the same quality of music was he based somewhere like London. I will move on to another point but wanted to recommend people investigate Irish music more. From Dublin’s hard-hitting and memorable Pillow Queens to the likes of Blake’s Fortune; the eclectic mixture of musicians one can find in all the counties – it is a stunning country that warrants huge acclaim and attention. I hope that will come but, for now, there are steely godfathers like Cormac O Caoimh who are leading a noble charge.

We often think of music as being about fresh and brand-new artists. I think there is undue focus and exposure towards the younger artists of the music world. One cannot call music a young person’s game: they cannot see someone like Cormac O Caoimh as being irrelevance or deserving of less acclaim. To me, the finest music is made by the finest artists – regardless of age, situation or location. The media seems to place too much emphasis on the youth of music; they ignore the established artists that have made an impact and are producing sensational music. I will bring in publications like Mojo, who have backed O Caoimh and his latest album, but it seems strange we still promulgate the young and ingénue above everything else. It is vital we offer encouragement and help to those brand-new but the spotlight is put on age rather than quality. I know Cormac O Caoimh has a big fanbase but there are many here yet to discover the wonders of his craft. Even if you are not a fan of the Singer-Songwriter/Folk genres; one cannot ignore the beauty, appeal and effect of his music. The only reason music progresses and inspires new artists is those stalwarts that lay down their marker and survive the tests of time. One of the saddest things about music is how disposable and unpredictable it is. I have seen many terrific bands and artists produce wonderful music; only to be overlooked and see their career end. There are others who have a cliché and commercial sound that manage to succeed for years to come. It is baffling so, for that reason, we must look to those musicians that have been providing the world music for many years. O Caoimh has been around a while but does not rest on his laurels. Rather than repeat earlier sounds; he continues to evolve and search for fresh inspiration. That quality remains the same but the subject matter leads to discovery, compelling avenues and some of the most beautiful music around.

How sad a music world where there seems to be so much imbalance. I have talked about sexism and racism in music – and how we NEED to make improvements and changes – but there is an interlinking trouble that worries me. I shall not call it ageism (I am sure O Caoimh does not want me to think of him as old) but it is, let’s say, experienceism. That word would be perfect to describe the comparative ignorance established musicians are afforded in music. I know a host of artists who might not have lit the charts up but has been producing consistently beautiful and strong music for years. We are still proffering those artists young, sexy and vibrant. Naturally, there are a lot of young artists who do not get attention simply because of their looks – they still have to work a lot harder than they should. I am not sure whether Cormac O Caoimh is disgruntled by the fact he has to work harder to get the same affection of a lot of brand-new artists but I guess he is happy knowing so many people respond to his music. Regardless of the fact, it would be nice to see the Cork musician ascend to a new peak. I have only recently come across his music so I wonder whether, with better representation, I would know about it a lot earlier. It is down to the media to show equity and parity with regards promoting music. I know one must concentrate on new albums and foster those making their way into music. That cannot come at the expense of artists who have worked for years to earn respect and acclaim. They cannot be reduced to the back pages and afforded a few column inches. I will rest this point but, if anything comes out of this diatribe, it is to force the media to re-evaluate and reassess the way they promote artists. There needs to be that fairness so the likes of O Caoimh are brought to a wider audience. He is doing a sterling job getting his native Ireland involved but one can only wonder the international possibilities were his songs to be provided adequate promotion by the mainstream media.

It may seem inconsequential mentioning an album like Blue but, when thinking of Joni Mitchell’s writing style; I think of O Caoimh and the way he pens. That album is forty-six and is enduring because it is so universal and affecting. Its longevity and fame exist because of Mitchell’s ability to make her personal songs speak to every listener. It is a record that is flawless and shows so emotion, revelation and honesty. Focused around, mainly, relationships and experiences: a wondrous creation that has inspired countless musicians to put their voice on record. Before the album was recorded, she broke up with songwriter Graham Nash. When it was being made; a relationship with James Taylor turned sour – heroin addiction and other troubles (Taylor) did not help – and many of the songs address the reasons behind the split. The reason I mention it alongside O Caoimh is the fact he, like Mitchell, can write in the most sumptuous and tender way. His voice is more accessible and refined than Mitchell – some feel her voice a little raw and atonal – but that is the beauty of her appeal. It is gorgeous but does have those moments when it flies and wanders. That expressiveness and stripped-back openness is something I hear in O Caoimh and his album, Shiny Silvery Things. I have not really alluded to the album – I will do more – but, listening to his upcoming single, Silence and Sound, it seems to be a song that could have come from Joni Mitchell’s heart. What strikes me about Cormac O Caoimh is the way he summons sensational poetry and imagery but does not let the words do all the talking. The performances and compositions speak volumes and project incredible images and emotions. The same can be said of O Caoimh’s expressive and assured vocals that have the same gravitas and richness as Mitchell. Perhaps Shiny Silvery Things is not the equal of Blue but, in many ways, it has similarities. Perhaps, too, the background is not as turbulent and fractured but, when listening to the songs, I get a real sense of a songwriter wrestling with some harder times but, in essence, providing the listener with the most personal and perfect music possible.

Previous albums from O Caoimh have been concept-based and looked at specific narratives/arcs. Here, there is a more traditional mindset that means there is greater lyrical/musical freedom. Another reason I wanted to compared the moody hue of Blue with the sheen of Shiny Silvery Things is because of the range and confidence displayed within. When Joni Mitchell released that seminal album in 1971; it resonated with critics and the public because of the vast array of pleasures. Songs did not simply repeat one another or stick to a simple theme. The finger-picking sublime throughout; the stories compelling and diverse; the singing always captivating and nuanced – a rich bouquet of sounds that, no surprise, have been inspiring musicians since its release. O Caoimh’s latest record mixes genres and does not stand still. It is a curious and agile album that, given its title, suggests something inattentive and dazed – it, actually, focused and alive. I am amazed by the songwriting quality throughout and how it seems vintage and modern at the same time. It has that quality and prowess of Blue and manages to sound completely new and traditional. Both are complex and stunning works but, like Joni Mitchell, one hears a stunning songwriter whose words are among the finest in the world. I do hope the promotion and media situation changes so albums like O Caoimh’s latest endure and survive decades down the line. I am sure he wants to inspire the new generation and make sure his music is protected and shared many years forth. I look at Blue and, when Mitchell was assessing her position at the time, she felt like she had no defences at the time; no secrets left and she was like a cellophane wrapper on a pack of cigarettes. There is a rawness and personal vulnerability from O Caoimh but, unlike Mitchell, he mixes in optimism, uplift and hopefulness.

I am pleased O Caoimh has seen Shiny Silvery Things get into the ears of the guys at Mojo. They felt each song superglued to the memory and made an indelible impression. Others, with slightly less articulate views, saw the album as a mix of genres and a Pop-y, Jazz-y kind of thing. The record has gained kudos in Ireland but, unlike other efforts, made an impact around the world. It is the praise from Mojo that really speaks to me. They, unlike publications such as NME, have a broader remit and tend to look at a greater range of artists. So many magazines and sites focus on a certain set of albums but Mojo go further and look at albums one might not normally see reviewed. It is a shame to think O Caoimh is a niche artist but that is the fault of the media. Mojo’s passion for representing the best music in the world means they sat down and spent time with the album. Looking at the songs – seeing them as “Acoustic gems” – they understand how the music enveloped the imagination and demanded repeated listens. I do not have the same sort of time to review the entire record – lest my fingers fall off! – but I will be looking at O Caoimh’s forthcoming single. I only wanted to mention getting great reviews from big publications because it shows how good an artist is and the fact they deserve wider appeal. It would have been good to see the likes of NME and The Guardian to spare more words; get all the broadsheets sparing more time promoting the record. It is heartening seeing Shiny Silvery Things collect kind words from some respectable sources. I will try and lend my positivity to the mix but, lacking the same reputation as Mojo, know this is the start of bigger things for O Caoimh.

Let us move onto lyrics and making sure your words are as fine and concise as possible. There is a division in modern music between artists who can pen exceptional and memorable lyrics – those who prefer something shallower and less assured. That might seem cruel but one cannot underestimate the importance of words. It is the heart and soul of every song; the storybook and narrative that defines the moment. There is a lot of importance to be found in the music and vocals but it is the lyrics that, to me, represent a track best. Making sure you craft lyrics that have intelligence and meaning is as vital as anything. I see so many artists create lazy and uninspiring lyrics and that, in turn, will reflect negatively on future generations. Maybe it is a problem that exists in the mainstream. There is such a proliferation and focus on those chart songs that are, usually, not defined by depth and intelligence. The average listener – teenagers and the very young – want something easy to remember and chantable. The music is often pumped and energised; the vocals primal and spirited; the overall package designed to be heralded and loved by those who do not necessarily have a great understanding of music’s past. I guess the mainstream has always been like that but, lately, I am seeing too many annoying Dance and Pop songs being highlighted for the wrong reasons. There is such emphasis on streaming figures and views – often, these come because of songs/videos that promote sexualisation and subjects not tied to the music itself. One cannot get a true impression of quality based on streaming figures: one needs to truly listen to a song and judge it without any outside influence. I have been listening to a lot of modern music and find it is those artists away from the charts, as you’d expect, producing the finest lyrics. O Caoimh is a songwriter that has been creating music for years but always been an exceptional writer. I look at his words and am instantly transported to a wonderful place.

There are few that can deny the strength and personality one finds in O Caoimh’s songs. Some of the lyrics are oblique and demand unique interpretations: others are more clear-cut and cannot be misunderstood. Poetry and intelligence run through all of his lyrics and, because of that, songs like Silence and Sound should be getting more focus from the mainstream as a guide to young songwriters. I have mentioned publications like Mojo but, if one looks at O Caoimh’s official website – link at the bottom of this review – there are plenty of sites that have heaped praise on his current album. Similarly; the songwriting is not purely Folk and Mitchell-esque. I mentioned Joni because of her lyrical strengths but, in terms of compositional and thematic exploration; there have been comparisons to Paul Simon and Paddy McAloon. Those are lofty comparisons but deserved when you listen to O Caoimh’s music. I am a big fan of McAloon and love his witty and wonderful words. He is someone who can write about the heartache and complexity of love (When Love Breaks Down) and, via Prefab Sprout, pen sillier songs like The King of Rock and Roll. Paul Simon, too, has a diverse pen and someone I can see a lot of in Cormac O Caoimh. It is intriguing watching the scenes and stories unravel on an album like Shiny Silvery Things. I have a lot of respect for O Caoimh for he is a writer that seems to speak to the masses. It is no coincidence he has managed to accrue such a wealth of positive reviews – seeing as his music addresses common concerns but does so with a lot of unique perspective. Throw in a sumptuous and alluring voice and a masterful musician of epic repute – you have a true star that should act as how young songwriters should be doing things. It is those words that, to me, define O Caoimh and what makes him so special.

I will come and look at O Caoimh’s forthcoming single soon but, to end this section, a slight return to Ireland. It is hard linking geography and the people to a certain type of music but, as I mooted earlier; one could not expect to see a songwriter like O Caoimh in London. Maybe it is the stress of life (in London) or the easier pace of Cork. I feel O Caoimh has more room to think and dream in Ireland. Maybe it is the people and community that compels his mind and leads to some of the wonderful songs we hear. I am not sure but know the country has such a wide range of art and culture. It is a part of the world that many overlook but, take a trip there, and you will discover incredible music, wonderful poetry and some of the finest writers anywhere. That is true of O Caoimh who is a treasure of the nation. His music has always garnered respect but it seems, right now, he is hitting new heights and finding fresh inspiration. There are so many great Irish musicians around so I wonder how instrumental having that close-knit network is. E.I.R.E. is somewhere we should all be looking towards because, as we can see with O Caoimh, he is getting a lot of fond praise. There are few as able to take from the surroundings and dip into his heart. He has that innate ability to speak about the intimate with grandeur and compress the epic landscapes into something portable and close. That is a talent that cannot be overlooked - and skills that have taken the time to craft. The Irish musical magician has left critics spellbound and, aside from his wonderful talent, I have the feeling the people around him are responsible for some of that success. It is interesting to wax and wonder but, when Silence and Sound is unveiled, I think O Caoimh will get a lot of gig requests around the world. I have talked a lot about Cormac O Caoimh and issues related to him but not come to the main event: the issue of reviewing Silence and Sound. I must get on, then…

It is the way O Caoimh articulates and announces his lyrics that really gets to me. The opening verse – “Time is like a church/Its signs remind me/A choir of ghosts sing rhymes/A bell tower chimes/Statues stand still in lines/Silence and sound remind me” – changes course and speed as the words are presented. There is a fast sense at the beginning but elongated; syncopation and a breeziness that all occurs over a few lines. The composition is largely composed of strings but it is such a fulsome and flourishing thing. Rather than delicate acoustic: one gets a rush of various tones that create a near-symphonic rush of the ocean. The lyrics, let’s look at them, maybe there are regrets and haunted memories. That ‘choir of ghosts’, as it is sung, might refer to past memories and bad times. There is something distant and oblique that means one can interpret the lyrics how they see fit. The way O Caoimh delivers the words mean they come to life a lot more readily than you’d normally hear – so many other artists would make the presentation simplistic and obvious. Instead, I was looking at past romances and some regrets. That ecumenical foundation gives the song a sacred and dignified skin. “A lover’s spurring tongue” and “Young love undone” are brought in and it makes me think it is less about O Caoimh and his testimony – more about observations and the nature of love. One can understand the comparisons to Paul Simon: it is easy seeing similarities in the lyrics and the way the music is delivered. So much emotion and physicality is evoked from the words; the singer skips and hovers; he delights and distances in equal measures. It is that oblique nature that keeps coming through. I look at the song as a paen to the diversity and balance of love: never being able to predict it; everyone has their own ghosts and takes something different from it. Every O Caoimh song, to an extent, is based in personal experiences so I wonder whether there are demons he is trying to bury.

There is light and darkness; shadows and shade – plenty of light and contrasting embers. One hears a real and honest voice present something meaningful and meaningful. What O Caoimh is talking about is up to you but one is seduced and entranced by the words. If you are not affected by the complexities of the lyrics, then that rich and rewarding composition surely has to be highlighted? It brings in some burning desire and refinement. There is all manner of shades and contours working away in the compositions. O Caoimh’s voice holds everything together like a priest administrating to his flock. I delved and dived into the song, following O Caoimh as he sings, and was traversing the graveyards and woodlands one hears about. The vocal continues to extract pleasure and delight with every line. It has that unpredictable nature where some words are rushed and others are given more attention. It makes the song nuanced and, when you revisit it, you’ll find something you do expect. There are backing vocals and ethereal backdrop that heightens that sense of tease, intrigue and beauty. In the same way Nick Drake talked about time as being cruel and provoking; O Caoimh, in his most interesting offering, reveals more pieces of the puzzle – “Souls walk where once
Walls stood years and months”. Time takes on different aspects and can be kind of foreboding. It is this thing that bonds and defines us all and, depending on your situation in life, can be a blessing or curse. There is a sense of loss and people passing through. Where once something physical stood: now, there are memories, spirits and the spiritual. Time, as later revealed, is a clique that watches how you bow and who you do it to. It can shut the door hard and ignore you. It is interesting listening to O Caoimh sing and what his words can do. They have such power because every listener will have their own views.

Rather than being painfully straightforward and obvious; we get lines that are poetic and deep. It takes a long time before all the images coalesce and you can form a story. Silence and Sound is a contradiction of a title and that is a pretty appropriate representation of the track. It looks at time and passings; the nature of being and belonging; how love can go fast and endure for years. Whatever the inspiration for the song; it is obvious it has a special place in O Caoimh’s heart. Maybe it reflects a lost love or a general view of the world. The crosscurrent emotions of love and romance might be behind the story’s truths. I am not sure but have loved investigating the song and how it resonates. It is a very powerful and fascinating song that shows how strong Shiny Silvery Things (album) is. Few will come away from the song not being enriched and improved. It is a fantastic song that recalls songwriting greats but, the way O Caoimh sings his lines, it is almost like nothing else out there. I am not shocked his music has gained huge reviews because the best songwriters are those that go beyond the obvious but ensure their music remains appealing to the masses. That is what one gets from Silence and Sound. It is a treasure of a song and fabulous moment from Cork’s very own Cormac O Caoimh.

I have talked about a number of things and shall, briefly, return to one or two before I close things. Before then; it seems like Cormac O Caoimh’s next few months are going to be busy. He has dates around Ireland and one hopes he gets to the U.K. very soon. He plays Clare and Dublin before the year is done but I know he would go down a storm in London. In fact, there are so many cities that would love to see O Caoimh play. I know he would be welcomed in Manchester, Leeds and Glasgow; some of the smaller areas - maybe some international dates could follow? Who knows how far he can go but one thing is for sure: the music one hears throughout Shiny Silvery Things is of the highest order. I am not sure whether there is new music planned and how far ahead the Cork musician is looking. He is a prolific artist so I know there will be ruminations and ideas in the back of his mind. I look at O Caoimh’s social media feeds and come to the conclusion he deserves a lot more fans. He is doing his utmost to get the music out there but it is incumbent on the listeners and fans to get the music to new realms. I can see recent pictures that show him on the road at some of Ireland’s finest and most evocative sights. It is small wonder he feels so comfortable and ‘at home’ in the country. Perhaps he does not want to travel and stray too far but there is plenty of energy in the legendary songwriter. He has a lot more to say and many more songs inside him. That worldwide tour will come but, right now, he seems happy playing and seducing the audiences of his native country. Let’s wrap things up but, before that moment, I want to return to Irish music and longevity in music; a little about musical diversity and acclaim O Caoimh has been receiving.

Let’s return to that last point because one cannot underestimate the importance of those big reviews. O Caoimh is held in high esteem and is an artist that has struck the heart of publications and sites all around the world. A lot of the praise has been local but it is heartening to see the big music magazines throw their weight into the agenda. Mojo are an example of a huge name who has taken the time to listen to Shiny Silvery Things. It is an album brimming with imagination, life and quality. Reviewers have been aghast because Cormac O Caoimh is an artist impossible to pin down. He mixes styles and, at once can be quite simple and direct; the next, he is inscrutable, complex and deep. The same can be said of his music that does not stick in the Folk/Singer-Songwriter realm. He does not unleash an unexpected Dance banger but there is array and diversity to be discovered in the Irishman’s work. Consider a song like Silence and Sound and it represents one of the deeper and more contemplative aspects of the album. Second Hand Clothes is different to Born and Big Mirror. The songs all have their own dynamic but there is that distinct sound and personality that unifies the entire album. It is no surprise O Caoimh has gathered effusive reviews and been celebrated by a vast array of reviewers. Longevity and diversity can be interlinked but, in O Caoimh’s case, he has managed to survive and prosper because of his variations and inherent talent. From those concept albums to his latest record: an amazing songwriter that continues to write the finest music around. There is something about his songs that stay in the mind and rattles around the brain for many weeks. I have been listening to various songs on Shiny Silvery Things and, each time I hear them, take something new away. That is the mark of a quality songwriter who knows how to captivate an audience.

I will wrap things up but state how important Cormac O Caoimh is to our music landscape. I opened by suggesting there is too much attention paid to younger artists. O Caoimh is not an old man but he is not a twenty-something (young) buck leaping onto the scene. There is a hard ethical dilemma to address. Many sites and reviewers have to support the new breed and ensure they get all the support they require. That being said; one cannot compromise the music of the more established songwriter. O Caoimh has been performing for years and built up a reputation based on exceptional songwriting and consistency. There shouldn’t be a point of a career where artists are being ignored and confined to narrow sources. If it is not ageism that there is a certain ignorance of focusing entirely on new/mainstream music. It is just as well magazines like Mojo go further and represent the full spectrum of music. Second Hand Clothes, the first song released from Shiny Silvery Things, has reached more than two-million listeners around the world and thirty different stations. That is no small feat and shows there is a lot of love for O Caoimh. Let me wrap things up because, as you can tell (I hope) from my words; there is so much to recommend when it comes to the Cork treasure. I love Silence and Sound and it is one of those songs that makes one forget their troubles; enriches their mind and remains in the memory. That is the mark of an artist who is unlike any other and deserves a lot more success and acclaim. Cormac O Caoimh is a songwriter that should not be ignored…

DARE one ignore that fact.

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Follow Cormac O Caoimh

FEATURE: Busking and the Road to Success: Change Is Gonna Come?

FEATURE:

 

Busking and the Road to Success: 

PHOTO CREDIT: Unsplash

Change Is Gonna Come?

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IF you’ll forgive the pen-laden cringe of the title’s sensibilities…

I wanted to address a side of the music industry that has caught my mind recently. Living where I do; unfortunately, one does come across buskers whose quality and worth are not exactly sky-high. Sure, there are some occasional standouts but, by and large, when I am situated, in busking terms, seems to be stuck in the 1940s. Maybe it is a reaction to the coolness/demographics of the area or a real lack of any ambition – getting people smiling rather than offering any depth, quality or credibility. If you are performing on the street to raise fun, that is okay, but I find myself travelling to the city in order to discoverer the decent and worthy buskers. There is a codified legislation – sternly known as Buskers’ Code – that details the rules and regulations all buskers must adhere to:

Where to busk

·         Busking is legal on public land and there are lots of great places to busk in London.

·         All pitches operate differently. Chat to local buskers to get the lowdown.

·         If you trying out a new area, talk to local busker, businesses and traders. You are less likely to get a complaint.

·         Let people get past. There should be space to push a piano past you and your audience - even at busy times.

·         If your audience blocks a doorway, market stall, pavement, ATM or loo, please stop and clear the blockage! You may want to try a bigger pitch or adapt your act for a smaller audience.

·         If there isn’t a suitable space, wait for one to become free. Ask other buskers if there's a queue you can join.

·         If a performer is waiting for your pitch please share it. On really popular pitches this could mean sharing after one hour or less.

·         Avoid sound clash! Acts involving sound should have lots of space between them.

IN THIS PHOTO: Mercy Grace (one of the competitors at this year's GIGS: Big Busk)

Your Performance

·         Your performance will have an impact on people nearby. Please be aware of this and be willing to move or adjust your performance if necessary.

·         Please don’t cause offence or humiliation.

Sound

·         The biggest cause of complaints is sound. Sound can travel a long way and go high into the air. Many busking locations are surrounded by flats, shops, offices or hotels. Because the people inside can’t walk away, please make sure your volume doesn't bother them.

·         As a rule - keep your volume just above the level of background street noise and check that it is not distorted.

·         Please don’t repeat music in the same location. Acts with varied content are much more popular.

·         Some sounds have a big impact on people. If your act has loud, bass heavy or percussive sounds, please monitor your volume regularly, vary your music and limit your time at each location.

·         Keep backing tracks unobtrusive and turn them off when you’re not performing.

Equipment

·         Make sure no-one could trip over your equipment.

·         Never leave equipment unattended.

·         Keep it safe! Check out our guidance page if your act involves anything risky (e.g. fire, knives, high wire, unicycle, diabolo, juggling).

·         Please don't cover your face (e.g. by wearing a mask) as this puts people off talking to you if there is a problem.

If you use fixtures such as furniture, lamp-posts or railings, or you draw on the ground, please get permission beforehand and make sure nothing gets damaged.

·         Please keep the pitch clean and tidy-up afterwards.

Collecting Money

·         Performers can accept donations but the public must never feel obliged to pay.

·         You can give away CDs or other items, but you cannot charge a fee for them. To sell items for a fee you need a street trading licence.

·         If you are collecting for charity you'll need a permit.

Resolving Problems

Talking with the performer is the starting point for solving all busking related problems. Unless there is an imminent risk to the performer or others, they should be given the chance to change their performance so that it follows the Buskers' Code.

Enforcement action should only be taken once the following three steps have been taken:

·         STEP 1 - Don't wait until you're irate! If a performer or group is causing a problem it can usually be resolved quickly and amicably by talking. Where possible, wait for a suitable break before talking to the performer(s). Introduce yourself and explain the impact that their performance is having on you. Ask the performer if they know about the Buskers' Code and refer them to Busk in London website.

·         STEP 2 - If you have spoken to the performer(s) and the problem continues, please contact you local authority. This might be via an on-street warden/officer or by calling council hotline. They will decided what steps to take, which may be enforcement.

The Law and Enforcement

Is busking legal?

Yes - busking on public land is legal in most places. However there are some exceptions:

·         The London Borough of Camden has introduced a bylaw that requires acts with music or amplification to have a busking licence. If you perform without one you could be arrested and have your equipment seized.

·         Uxbridge Town Centre in the London Borough of Hillingdon has introduced a bylaw that requires all acts using the four town centre pitches to have a busking licence. If you perform without one you could be arrested and have your equipment seized.

·         The financial district of the City of London (known as the Square Mile) allows performers but does not allow money to be collected in public places.

·         Some parks and squares have bylaws that don't allow busking.

·         Private land owners may have their own policy on busking and you may require permission from the landowner. It is often hard to tell private from public land, so please check with a local warden or business or contact Busk in London if you are unsure.

·         Private busking schemes that have entry requirements, such as auditions, permits or licences, include: the London Underground Busking Scheme; some pitches at Covent Garden; and the Southbank Centre Busking Scheme (between the London Eye and Hungerford Bridge).

IN THIS PHOTO: Dawson

Anti-social behaviour

·         If your behaviour is unreasonable and you are having a persistent, detrimental effect on the quality of life of people in the area, you will receive a verbal warning.

·         If you carry on, you could be issued with a formal warning letter, followed by a Community Protection Notice under the Anti-social Behaviour, Crime and Policing Act (2014).

·         If you breach the notice, you could be fined or have your equipment seized.

That is, actually, a simplified truncation of the full ins-and-outs. If one wants to play their music on the streets of London; it is not quite as romantic and easy as the likes of Jerry Rafferty and Ralph McTell romanticise – the ease one can work their craft and discover some great music. The reason I raise this article is the discrepancies between town and city; why people busk and whether it can open doors – or if it is a way for musicians to cut their teeth and get first-hand feedback. One of the incongruous aspects of my local busking scene is how unregulated it seems to be. Anyone can busk which creates a couple of issues: the high streets can, especially at the weekend, be awash with ill-fitting sounds that cause some hostile reactions. One might move down one section and hear Hokum bands covering relatively modern songs with all the cheesy charm and jug-blowing coolness one might expect from counties away from London. A few metres down the street and there will be a wannabe X Factor warbler or droning, sonorous Folk singer – mangling some classics and draining the emotion from them.

One is ‘treated to’/threatened with’ so many different performers in the space of a few seconds. Other than the fact the quality is seriously questionable – so many musicians covering songs badly is not going to get me heading for the wallet – it makes me wonder the reasons behind this. Unregulated performances give freedom for artists to ply their trade on the street but does it create a culture of over-saturation? I walk down some streets and find myself inundated with crooning, strumming and sounds of various offensiveness. Even if one discovers a gem down a side-street; that is often washed away by a caterwauling singer a few yards down the road. London’s rigid and rigorous book of rules ensures their buskers are selected in terms of quality and potential.

IN THIS PHOTO: The cast of Once; busking at Leicester Square Tube/PHOTO CREDIT: Matt Crockett

I remember a few friends of mine auditioning for Busk London and trying to secure a spot on the London Underground. It is a competitive and much-contested process that sees musicians battle for converted spots in some of the capital’s prime locations. I will come to look at the ‘goods’ and ‘bads’ of busking but, considering London, I want to introduce a piece from TimeOut London written a few years ago:

“Actually, it’s pretty hard to compete as a busker in general. The tube is out of bounds for newbies. There are currently 280 licensed buskers on the Underground in a TfL-run scheme. It’s proved so popular since its inception in 2003 that it now attracts 4,000 applications when auditions for new licences are held every two years.

Above ground, the outlook isn’t much sunnier. We’ve got away with playing music freely in Trafalgar Square without being moved on by the authorities. But we’ve been lucky. ‘There are times when the police come round Trafalgar Square and tell everyone to stop without any reason,’ says Olly Corpe, one of The King’s Parade, the quartet arrested in Leicester Square. ‘It’s really strange. It depends on the day, it depends on the officers on duty. Sometimes there’s complete hostility towards you.’

Part of the problem is the lack of a citywide consensus on how authorities and the police should treat buskers. For example, The King’s Parade were carted away under the Metropolitan Police Act, an obscure piece of legislation from 1839. They weren’t formally charged according to Corpe: ‘When we got to the police station the officer in charge didn’t even know what the Metropolitan Police Act was.’ Still, it was later defended by the Met in a statement to press. The reason? ‘There is strong evidence that this type of street performing attracts thieves.’

bUSK2.jpg

To remove this confusion, the Mayor’s Office is running a #BackBusking campaign to establish a universal code of conduct. It should allow non-nuisance, unlicensed buskers to perform without recrimination. It’s tricky, though. When we asked Camden Council to explain their clampdown on unlicensed acts they said it was ‘light touch regulation’ due to ‘a rising number of complaints from residents […] particularly where amplified and percussion instruments are used’. The number of complaints? One hundred. In a year. If the councillors felt this sufficient to act against spontaneous street performance it seems unlikely they’ll get on board with a mayoral campaign which asks councils to ‘make sure [that] genuine buskers outside designated schemes don’t get moved on.’

‘It’d just be nice to change the image of a busker to someone that adds to the character of the city rather than being a nuisance,’ says Charlotte as we return to the South Bank, this time setting up at an unlicensed area by Gabriel’s Wharf. Apparently, the public agree. As Charlotte begins to coat chart hits with her honeyed voice, nearby office workers eating sandwiches on benches flash megawatt smiles at us.

IN THIS PHOTO: Ina Reni (an artist, whom I have interviewed, who has taken part in London's biggest busking competition)

Fifty daytripping kiddiwinks in luminous jackets are dragged over by an excited teacher. They clap along until Charlotte finishes singing and then run at her, wrapping their arms around her waist, squeaking ‘Another! Another!’ Pocket money fills the guitar case (we later find that we’ve made £45.26 in two hours) and the youngsters sit in a big crosslegged huddle in front of us, gazing up in adoration”.

It is that ‘public appreciation’ that seems to get to me. Not only does London prove to be a perfect place for busker hostility – people taking ‘offense’ at the music being played – but deters artists who want to bring the streets alive – and make some money for themselves. What troubles me is the fact some of these artists are genuinely trying to make a career and path for themselves. Even if they are there to provide happiness and music: should they be protected and safeguarded more than they are? The article above – I urge you to read it in full – is supported by testimony from many buskers in London. A recent piece in Metro added another dynamic to the argument:

“Buskers and street performers could be forced to buy a licence in order to legally perform in one London borough.

Councillors representing Kensington and Chelsea will discuss a proposed clampdown on buskers, mime artists and ‘living statues’ that would involve street performers needing a licence.

The plans state a new policy would ‘help eliminate people who are not providing a genuine performance’, the Evening Standard reported.

IN THIS PHOTO: Boris Johnson (Mayor of London at the time) and Newton Faulkner

It is not known how expensive the licence would be, but nearby Camden charges £17 a year, or £47 if they use amplifiers, drums or bagpipes.

In a report, councillor Tim Ahern said the proposal would reduce ‘nuisance and inconvenience to residents and businesses’.

He said: ‘It has proved difficult for enforcement officers to attribute anti-social behaviour to an individual busker. Officers would now like to license busking across the whole borough, initially for a trial period of 12 months.

‘The proposal is that all categories of busking performance, including those that are considered low impact, such as mime and living statues, will require a busking licence.

IN THIS PHOTO: Luca (a former winner of a London busking comepetition)

The borough would make about 100 permits available on a first-come, first-served basis.

Kensington and Chelsea is the first council in Britain to propose a ban on unlicensed street performers”.

This seems like a super-harsh taxation on people who are trying to create something pure – not bilk and swindle credulous tourists. I walk through London a lot and, away from the Tube stations, one does not encounter many musicians on the bigger streets. It used to be the case I would discover a lot of musicians performing through Oxford Street and Piccadilly. One finds more homeless than musicians these days: should we reverse a policy that seems to strangle a sense of artistic freedom?! It is a complicated brew but one we need to decode, review and amend. One can apply to busk on the Underground because, in my mind, we need to encourage and nurture those who risk performing to the bustling, unpredictable commuters of London. I am not down on London but feel cities like Manchester and Glasgow afford their buskers greater humanity and financial remuneration. I will, when passing through the London Underground, dip into my pocket when I hear a great musician play – it makes commuting more pleasant and appealing.

There are negatives when it comes to city busking. Recently, when travelling on the Jubilee Line; a trio of accordion-playing buskers leapt onto a Tube and ‘serenaded’ the patrons to a very loud and confined ditty. The pressure to compensate them – one could not easily look away or get private – was a pressure I surrendered to. There are rogue and rebellious artists that do offer sonic force and pressure. There is a minor element many associate with ‘London busking’. That is not the majority and is an unfair representation of what one can expect from the city. You can say the same of any major city where a variety of artists want to play. I am soured and off-put by the musicians one gets in smaller towns and local environs – often anyone can rock up and you might find, say, one half-decent busker in ten. To perform in the city; there are more stipulations and obstacles one has to navigate – to ensure there is an emphasis on quality and promise.

IN THIS PHOTO: Maeve Fitzpatrick (a contestant at this year's GIGS: Big Busk)

There are a few points from Roland’s guide to busking that offers tips to any wannabe busker:

#10. Loosen their wallets
“Most buskers ‘salt’ their cases before starting the set, slipping in a handful of their own money so punters recognise that tipping is welcome and know where to throw coins. As the set progresses, you want enough coins in the case to imply that you’re popular, but not so many that people conclude you don’t need more. Every few songs, take out some of the accumulated coins to stop a passing toerag stealing the loot. And that leads us onto…

#11. Grin and bear it
You’ll get drunks, nutters, thieves, pensioners informing you that you suck and hoodies gobbing in your case. Take it all on the chin. If you get heckled, laugh it off. If you get robbed, don’t chase them. Dealing with borderline psychopaths is an invaluable lesson for anyone hoping for a career in music.

#12. Use it as an apprenticeship
Busking can teach you everything you need to know about live performance. Spend a few weeks out there and you’ll work out what engages people and what leaves them cold, which songs spark a singalong and which ones get you punched. Learn your trade on the streets and who knows: maybe you’ll follow in the footsteps of ex-buskers like Ed Sheeran and Rodrigo Y Gabriela, and use the experience as a springboard to a gold-plated career. Today, the doorway of a defunct Woolworths. Tomorrow, the world…”

IN THIS PHOTO: Donna - Lois Andrea Music (a contestant at this year's GIGS: Big Busk)

We have all heard the story of famous musicians starting their lives as buskers. Ed Sheeran is a modern example of someone with those humble roots – transitioning, over the years, to the mainstream. That success did not occur overnight but, seeing him rise to prominence, gives heart and hope to buskers who, on an average day might seem deflated and lacklustre. Of course, one cannot say whether busking was instrumental in Sheeran’s success – and whether he was ‘spotted’ and discovered. There are few that have managed to rise from the streets to the mainstream but it is not impossible. Most musicians, when they busk, do not yearn for instant stardom: the fact they are able to get their music out there is the most important thing. I have reviewed and interviewed many musicians who busk; for different reasons. Some do it to showcase their music and get the first-hand reaction. It can be a terrific forum to see how songs are perceived by the British public. If one can navigate the ignorance and attitudes of the average citizen; you do get a core that recognises the hard craft and talent of musicians trying to make other’s lives better. Many busk to earn extra money or provide an outlet for amateur designs – not necessarily parlaying into a career in music or play at a professional level. Whatever the scale of ambition – and magnitude of their performance – we must provide better reception to buskers; those doing it legitimately and imbued with actual talent. There are many, as I have explained, who pollute the streets and crowd the eardrums – so many streets laden with similar-sounding buskers; none of whom warrant a pitch or any second thought. Bigger cities have greater quality control but, with such stringent guidelines being introduced, many are forced to pay to set up a pitch – often not able to turn any sort of profit over the course of a week.

We need protectionism and stricter codes in the RIGHT direction. Of course, nobody wants to see a cavalcade of semi-talented buskers singing at them but, at the same time, we do not want to purge the streets of genuine musicians who have something to say. I go to London and discover a range of wonderful sounds and artists. From the edgy and cramped conditions of the Underground to the open and swaying Oxford Street – it can be a great way of enlivening and enhancing a city. I fear, with venues under threat, many musicians will have to busk in order to get their music heard and honed. The danger of verbal and physical abuse; the criticism, banning and costs: all of this is muddying and diluting a culture that needs to survive and grow. I can understand the need to limit buskers in towns and smaller areas. Those who do not have a license should be punished by those who have the right to perform should not have to face taxation, repression and curfew.

IN THIS PHOTO: Ed Sheeran (busking in Brighton in 2010)

Music is an industry that should welcome people in and promote growth and expression. We cannot see our live venues close and struggle and push people off the streets. Maybe busking is not an easy way to success – it is part of a gruelling series of steps – but it needs to be protected and strengthened. I am split when it comes to town vs. city but, in terms of those instilled with promise and talent – they should not feel fearful and unable to follow a busking path. It is not a big ‘industry’ but, from the street-level player and artists looking for larger success, it is absolutely crucial. Whether we see buskers on the streets, cities or trains; I feel we all…

SHOULD be a lot more hospitable.

INTERVIEW: FØNX

INTERVIEW:

PHOTO CREDIT: Emily Elizabeth

 FØNX

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THERE is a rare charisma and sense of attraction one feels when listening to…

PHOTO CREDIT: Asia Pracz Photography

the music of FØNX. I have been spinning his new track, Can’t Get Enough, for a while and find something new each time I play it. For that reason, it was interesting chatting with the East Sussex-based songwriter about the track’s origins. He discusses working alongside Grammy-winning producer Tommaso Colliva and how he managed to transition between a period of sofa-surfing and where he is now.

I get a peek into the creative mindset of someone who recommends the music of Eminem alongside Frank Ocean and Ben Howard. The enigma and contrasts of FØNX are apparent in the music – that imbued with so much nuance and allure.

FØNX is live-streaming his latest track tomorrow - via his Facebook page - so make sure you get a first-hand representation and experience of the incredible music.

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Hi, FØNX. How are you? How has your week been?

I’m great, thanks. How are you doing?

It’s been an awesome week so far! The single came out last Friday - so there’s been a constant stream of things to do and people to talk to which is great.

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

I’m FØNX. I’m an artist/songwriter/producer - forever on the move.

Tell me a bit about your new track, Can’t Get Enough. What compelled the song?

The track, Can’t Get Enough, came about after a night out with a friend in Brighton - during The Great Escape Festival weekend. During the night, he told me how he recently had a bad trip on something funky and was tripping out for twenty-hours straight - which sounded pretty horrendous.

Forward a few days later, and I still had his story going through my head and thinking how nuts it sounded, so, I started penning some lyrics down and that’s how the initial ideas starting flowing.

Was it true you found yourself sofa-surfing and busking? How did things get to that point where you had to live like that?

When you put it like that, it sounds bad - but it wasn’t quite like that. I was moving house and it was that in-between stage where you don’t have your old home to live in anymore and you don’t have a new one to move into yet.

So, I was just sofa-surfing with friends for a couple of months, which was cool, but a bit random not knowing where you’re going to be staying the next night!

Lucky, I have some cool friends with sofas to lend! It was during this time that I started writing Can’t Get Enough and I remember turning my mate’s living-room into a little make-shift studio - while he was at work during the day - to record the demo.

IN THIS PHOTO: Tommaso Colliva

Tommaso Colliva produced. Was it quite daunting working with a Grammy-winning producer? What did Colliva bring to the process in terms of expertise and insight?

It was awesome working with Tommaso because he really wanted to get to know where my mind was at and what I liked; down to my favourite films, music I’m digging and everything else - so we could draw from that palette, if you like. It felt like we were on the same wave-length in terms of wanting to experiment with sounds; find something unique within what we were doing and not being afraid to try something outside the box. His studio is sick too. He has a lot of analogue and vintage gear, so we used some bits in our recording sessions.

The whole process just felt really exciting for me as it was the first time I had worked with a producer on my stuff. It was amazing going to the studio every day to work on these songs and ideas that were born in my room.

Tommaso won his Grammy during our initial recording sessions so it was pretty cool walking into the studio, one day, to see his Grammy had arrived. It definitely has a presence to it. Feels like you’re in good hands when you can see that in the corner of your eye!

How do songs like Can’t Get Enough come together? Do you set time aside to write or is it a more natural process?

The initial spark of an idea is usually a natural process as something will trigger an idea or story for me that I’ll want to carry on writing about. I guess, once I have that, it becomes more about setting the time aside for writing. I usually want to write about something specific or express a certain way I’m feeling before I write it - instead of forcing a thought or a song idea to then write a song out of it (if that makes sense?!).

Then there’s a point where musical ideas meet the lyrics. This process I find has to be more forced as you are trying out different musical ideas with different lyrics until something clicks - and you feel like you’re onto something.

Sometimes, I can write most of a song, produce (up) a demo for it and still be missing a verse. But I know I will eventually find what I want to say and come back to it later.

PHOTO CREDIT: Emily Nelson

What has been your most-treasured memory in terms of gigs and achievements?

I think writing the next song feels like the biggest achievement each time for me because that’s my favourite part of the process - and means the most to me as it’s something I’ve created and can treasure forever - whether it reaches a lot of other people or not.

Hearing my song being played on BBC Radio 1 for the first time was a big deal for me too. This was when I wrote music under my old name, in a slightly different vibe.

How important is London to your work and outlook on life? It seems like you vibe hard from the people and sights of the city.

London is really important.

There’s this buzz I feel when I’m London that I can feed off for inspiration. When I’m there, I feel more inspired than anywhere else. I feel I can think outside the box and look at things in a different way.

It’s definitely a good place to write for me.

Is there going to be new material or hookups in the future? What have you got brewing?

Definitely: lots of new material to come in the near-future.

I’ve been writing solidly for the past couple of years and I almost feel like the music, in terms of releasing and sharing, has now got to catch up with where I’m at now. So, yes, there’s a lot more to come and I really can’t wait to start getting it out.

It seems like you take a lot of influence from the likes of Frank Ocean and Childish Gambino. Is American R&B music you connect hardest to or are your tastes quite broad?

Yeah, I’d say you’re right.

It’s definitely one of my favourite genres of music right now. It’s the sort of stuff I stick on with friends and dance to - but I also love how artists within that genre are pushing forward and searching for something different and surprising within production and song form. It’s exciting.

My tastes are pretty broad but, at the moment, I’m loving artists like Anderson Paak, Kendrick Lamar; John Mayer, Mac Miller; George Benson, Tom Misch and Francis and the Lights (to name a few!).

 PHOTO CREDIT: @emelizabeth

Do you have any tour dates approaching? Where can we come and see you play?

I’m playing a few intimate Sofar Sounds shows over August - which I’m really looking forward to. These are some of my favourite shows to play right now as you can really connect with people in a way you don’t in a big music venue or festival. I’m also going to be playing a few London shows in September:

Saturday 19th August - Sofar Sounds, London

Monday 21st August - Sofar Sounds, Bath

Sunday 27th August - Sofar Sounds, Cambridge

Wednesday 30th August - Sofar Sounds, Cardiff

Friday 8th September - The Spice of Life, London

Tuesday 19th September - The Bedford, Balham

Thursday 26th October - Aloft Hotel, Excel London

Tuesday 5th December - Sofar Sounds, Southampton.

IN THIS PHOTO: Tom Misch

Who are new acts you recommend we check out?

Puma Blue, WAX; Rob Araujo and Tom Misch.

If you had to select the three albums that mean the most to you; which would it be and why?

That’s a really difficult question…can I pick ten?!

Earth, Wind & Fire - I Am

My earliest memory of music is listening to this album in the car…you just can’t go wrong. It’s a magic record from start to finish.

Eminem – Encore

This was the first album I bought with my own money. I used to listen to it on my Walkman on the way to school. I knew all the lyrics and played it on repeat for quite some time!

PHOTO CREDIT: Emily Nelson

Ben Howard - Every Kingdom

It reminds me of a magical time when I starting studying music in London and experiencing that buzz for the first time and falling in love. Not quite the style of music I’m listening to much these days, but still, a beautiful record.

What advice would you give to artists coming through right now?

Keep writing and never think you have the song - or ‘hit’, as people like to call it.

Support other artists.

Finally, and for being a good sport, you can name a song and I’ll play it here (not one of yours as I’ll do that).

Tom Misch - South of the River

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Follow FØNX

TRACK REVIEW: Blake’s Fortune - Heart’s Roulette

TRACK REVIEW:

 

Blake’s Fortune

 Heart’s Roulette

 

9.3/10

  

Heart’s Roulette is available at:

https://blakesfortune.bandcamp.com/track/hearts-roulette

GENRES:

Folk; Americana; Indie-Folk

ORIGIN:

Dublin, E.I.R.E.

Vocals, Guitars and Percussion: John Lennon
Bass: Dave Buttner
Clarinet, Backing Vocals: Sarah Gallagher
Fiddle: Eileen O’Driscoll
Banjo: Lily Gems

The album, Hello World, is available at:

https://open.spotify.com/album/6IO5Bxi6QBcfIJW6h7iQhe

RELEASE DATE:

20th March, 2017

All songs written by John Lennon. 

Recorded from August 2016 to February 2017 at The Windmill in Dublin. Additional recordings at The Cottage in Aillebrack, Rory & Lily’s in Sallynoggin and Damo’s in Glasthule. 

Mixed by Tony Harris (tracks 1, 3, 4, 5) and Damien Walsh (tracks 2, 6, 7, 8, 9, 10). 

Mastered by Fergal Davis. 

Lighthouse at Point Reyes by Briano. 

Art Direction and Photography by Céline O’Donnell. 

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THIS weekend, I get to look at two male artists who…

hail from the same sort of part of the world. It is great to subject myself to Irish music and, in this case, Blake’s Fortune. That is the moniker of Dublin-born John Lennon so, as you can imagine, using his real name might have been a bit confusing – or else led to some lofty expectations. There are few, in the world of music, that do things quite like him.  I will come to John Lennon’s creative half in a minute but, right now, I will address a few subjects. Among them is Americana and Folk music; Dublin music and venues there; wishful/romantic music; male singer-songwriters and standing out from the crowd – artists who can provide beauty and lyrical/compositional range on debut albums. I will end things with social media and upping the visual side of music, too. I often get to look at Folk music and its various incarnations. I am not sure what it is but the genre is starting to grow. Artists are bonding with it and, like no other time in modern music, it is seeing more recruits than ever. To me, it represents a freedom and flexibility that most genres do not. There are those who say Folk is quite a boring and specialist medium. I would argue against that but, taking their side, suggest one could not listen to a lot of like-minded Folk artists for too long. By that, those performers who play rather placid and calm music – sounds meant to soothe and seduce the soul. It can be difficult listening to songwriters who do not get out of second-gear but, in the case of Blake’s Fortune; there is such a variation and depth one doesn’t fall into that trap. Yes, there is a lot of romance and tenderness but other sides to the artists. Recently, I investigated Folk and how multifarious it is.

One does not necessarily have to see it as an off-putting brand of music. We all have our tastes but Folk cannot be accused of being predictable and limited – not anymore, anyway! What Blake’s Fortune does is show what you can do by keeping Folk pure and modern. There are Americana roots that, interestingly, are coming into British music a lot more. Whilst we refute their world leaders, attitudes and negatives – we are embracing American music a lot more. Hip-Hop from the U.S. is assimilating into British culture more readily and Folk is taking a lot from America. Maybe that is not a shock, also. John Lennon, like many artists, is inspired by the best and brightest of U.S. Folk. I know Dublin is not in Britain but forgive my eager typing – you know what I mean! What I find, when listening to Lennon’s music, is someone who has immersed himself in Americana and Folk from a young age. There are many Folk contemporaries who limit themselves to a certain style but Blake’s Fortune is an outfit that has a lot to say; so many different stories that suit the full expanse and range of modern music. Why I wanted to look at Folk/Americana is how agile and popular it is. One cannot accuse it of being for acquired tastes. As the mainstream remains rooted in commercialism and a Pop sound: away from that, there are so many young Folk artists updating the genre and lending their voice. I feel, unlike other types of music, one is able to project an array of emotions without having to leap between genres. Folk/Americana have malleability and is attractive because of its freedom and potential. Blake’s Fortune enters a busy market that is as competitive and hostile as any other time. I mentioned how busy Folk music is becoming and that needs to be addressed. We are seeing so many different artists come into the genre and provide their own take. It might be scary for a young artist to join the fray but, as he shows, one can carve their own empire if they do not replicate and copycat.

This might be the first time I have looked at a Dublin Folk artist this year. That might sound like a niche issue but many overlook the joys and potential of the city. Recently, I hosted Pillow Queens at The Finsbury in London. They are a girl group that rock hard and have the promise to ascend to the mainstream in years to come. Brilliant live; fantastic songwriters with a tight connection – few bands have the attributes and qualities they do. They are among a small selection of artists that genuinely have something different about them. Having Blake’s Fortune before me allows my mind to go to Dublin and the great music coming from there right now. Hare Squad and Bad Sea are two Dublin acts that, between them, offer energy, bangers and longevity. The former is an Electronic act making a name for themselves in E.I.R.E. The latter, a more contemplative and charmed. Their music has Folk embers but mixes Country and Aaliyah-like R&B into the fold. Saint Sister have links to Derry and Belfast but have that Dublin base. They are a terrific duo that has been touring the U.K. and Europe the past couple of months. True originals that have the opportunity to go as far as they want. Throw in the boys of Orchid Collective and one has a band that mixes Fleet Foxes-esque harmonies and Folk-Rock brilliance. I particularly love Farah Elle and all she promises. She has Libyan heritage and mixes that with flecks of R&B, Reggae, Ska and Pop: a brilliant artist who has a lot more to say. The urban realities of life are presented by Burnt Out. Their name might be an apt description of their lyrics and worldview. Songs address the harsh realities of the city and the kind of people they have encountered. The North Dublin guys have only a few songs under their belt but are another band to watch carefully.

The same can be said for TooFools whose membership expands – depending on whether they play live or record – and mix Funk, Soul and Stomp. Eden is a fantastic artist who has seen his fanbase expand and music take off. He has completed worldwide tours and is one of the most popular and promising new artists in Ireland. That is merely a reflection of the kind of act one can experience in the country. I did not include links to their social media but you can investigate for yourself. I did not want to distract one from Blake’s Fortune and what he is producing. I often think the quality of a city’s/country’s music depends on the people and the culture. Dublin is renowned for its friendliness, warmth and wit. It is an encouraging landscape for musicians and, as I shall show in the conclusion, full of great venues and sites. A fabulous city that is promoting and raising some future stars. I can understand why Lennon is based there and why his music has the character, heart and quality it does. Other areas like London, for example, have their own brand – and is immensely varied – but there is something unique about Dublin. I have discovered few areas that have that exceptional genre-fusion and immense quality. Maybe it is to do with the people and the fact musicians feel supported and hopeful. If one feels they will be successful and get long-term support; their music is going to be that much stronger and solid. I have not been to Dublin myself but know, from reports people send back, what a place it is. There is a loyal and tight-knit music community that is encouraging its inhabitants to remain there – rather than come over to England and live here. Blake’s Fortune has many Folk/Americana compatriots but, when it comes to his combination of sounds/emotions, there are few like him.

One might look at John Lennon and assume they have him all figured out. The hirsute musician strikes you as a Badly Drawn Boy-esque act whose music will be beautiful and appealing – but lack the marrow of diversity, energy and edginess. Hello World, by its title implications alone, is an album that welcomes people in and has a positive disposition. There are some more introverted and moody moments but, largely, the music has an optimism and hopefulness. That is reflected in the ambition and flexibility of Lennon as a writer. He switches genres and ensures his songs never become too repetitive and predictable. Not only does he keep the compositions interchangeable and broad but carries that over into his lyrics. On his album, from the opening number, there is that sense of emotional space and recuperation. Hiatus is, literally, the man spending time away from home and getting a break – returning and finding himself refreshed and rejuvenated. Other tracks look at romance and something tender and pure. I shall look at a particular track from the album but, if one goes to his BandCamp page – link is at the bottom of this review – you can read the lyrics and the stunning wordplay at work. Scanning the words and one finds senatorial dignity and curious come-on; beautifully weaving poetry and incredible imagery. Blake’s Fortune reminds me of Nick Drake and his incredible songwriting. You only need read the lyrics and you can immerse yourself and picture the scenes. The best part of the lyrics, to me, is the romance and the angle Lennon puts on the trope. That is an appropriate word because a lot of songwriters, when addressing longing and passion, tend not to differentiate themselves from the pack. Here, one discovers an artist who casts from his own experience and makes sure his words contain no clichés and stereotypes. There are few who project the same majesty and beauty as John Lennon. From my perspective, having affection for someone and pining for a person I cannot have, I find a lot of comfort and solace in the work of Blake’s Fortune. The words provide a sense of hope and guidance. One, when intoxicated by the relentlessness of love, need answers and clarity. When listening to the songs throughout Hello World; not only did I find answers to some arresting questions but some perspective and hope. I will not go into the details of my predicament but am glad I have discovered Blake’s Fortune. Wistfulness and romance and words that might balk some; get under the skin in a bad way – assuming the music will be soppy and cloying. A lot of artists do write that way but there is a real intelligence, dignity and depth to Hello World.

Listen to the album in full and one is enriched, enlivened and encouraged. Few can deny the incredible voice of John Lennon helps embolden and define his lyrics. It is the songwriting that, in many artists, is overlooked. We look at the surface and sound but rarely dig down to the core. Whether that indicates a lack of interesting songwriters – and whether they are saying anything original – or a naivety, I am not sure. I feel too many take songwriters at face-value and do not spend time looking underneath the bonnet, as it were. When listening to Blake’s Fortune; those words are as instrumental and effective as anything. The genre of Folk/Americana is a crowded one and so, for that reason, one cannot be lazy and complacent with their music. Blake’s Fortune has a style that many can apply to others but, when seeking that U.S.P., it only takes a brief sip of the opening track (of the album) and there is that hit. The fact John Lennon takes in many different sounds and styles keeps the songs unexpected and innovative. I find many artists last a short time because they do not take the trouble to study and see what people want. Maybe they are obsessed by commercialism and replicate mainstream acts: some go the other way and try to be unique – but lack any identity and focus. It is tough coming into music and creating music sustainable, interesting and enduring. Such is the capricious and ever-changing nature of tastes; it is challenging discovering what people want. Blake’s Fortune is unconcerned about hollow fame but he wants that credibility and respect as a songwriter. Because of that, his music comes from the heart but is not exclusive. It is intended for the people and welcomes the listener in. I will touch on this subject in greater depth later but, for now, a nod to the male singer-songwriters.

One of the most noticeable fashions/trends in modern music is the switch in genre and tastes. People are becoming bolder and broader with their music choices and not rely on the charts to tell them what to like. Also, one sees the shift from bands dominating: female artists are taking a lot of ground and influence from the chaps. This is good to see and, whilst this quality and talent is not translated into festival headliners, there is evidence to suggest changes will occur down the line. Once was the time male bands were all the rage and dominating the landscape. I am not sure what one can attribute the change to but I am discovering a lot of female acts replace them. That means the male singer-songwriter, by comparison, gets less attention. I am not suggesting the male singer-songwriter is weaker and less important but I am finding fewer examples that can match their female peers. This is good in regards gender equality but suggests there are issues inherent that need addressing. I feel a lot of the best female artists are solo acts. Not to stereotype, but certain genres have particular dynamics. Grime and Hip-Hop tend to have a greater number of black artists; Folk more white artists; one can look at various genres and know what the demographic will look like. Pop, Folk and Electronic music are starting to eek greater reactions than modern Rock and Indie. These styles, when bands dominated, were favoured but right now there is a structural weakening and lack of motivation. I find the finest new Pop and Folk artists are women. The reason for this, I think, is because of the voice and music approach. The sheer beauty and comfort from the voice; the vocal range and the lyrical balance of warmth and physicality. That is a generalised and simplistic definition but I notice a real difference between male and female songwriters.

One finds more range, diversity and nuance with female artists. Folk and Pop are genres that have so much room for manoeuvre – they are exploiting this and making some real strides. Look at newcomers like Phoebe Bridgers and that says everything, really. In a way, she reminds me of Billie Marten – maybe Bridgers came first – and has that sweet and impactful vocal. She is a young songwriter but has older shoulders. Listen to her music and she talks about older bands and strange romance; quirkiness and an insight into her day-to-day life. You jump into the music and stand alongside Bridgers. She is someone to watch closely and one of many incredible female songwriters that have something very special about them. I am finding fewer male comparisons: those who possess the same quality, talent and range. Maybe I am not looking hard enough but I do not think I am wrong. Blake’s Fortune is one of a promising brand of musicians that have the chance to steal back some focus. I feel one of the reasons for the gender discrepancies is the way artists look at life and love. They are solid foundations for tracks and a currency many still yearn for. They are solid foundations for tracks and a currency many still yearn for. It can be tricky writing from the heart and making your words sound new but that is why the women are ahead. Maybe it is a mindset or perspective that makes them more intriguing but I find it is a combination of interesting and poetic lyrics and vocals that can express greater emotional range. The boys are too rigid and few stand in the memory for as long. This is not the case with Blake’s Fortune who has something about him. Like the finest female songwriters around; he goes the extra mile and away from the predictable. It is hard to characterise but I hear so many male songwriters that come across boring, formulaic and uninspired. In order for music to grow and evolve, we need to encourage those artists that have something special about them. One hears that in Blake’s Fortune and an album like Hello World.

I shall come to the music very soon but, before then, a look at debut album and social media. On the first point: Hello World, could have been quite a defined and limited album that stuck with a single genre and taking its inspiration from a shallow well. I hear a lot of debut album that shows a lack of courage and innovation. That is understandable in an industry that is unstable and cruel. What I mean is many artists can be overlooked if they try to be different and unconventional. Because of that; an opening salvo is personable and strong but lacks any real experimentation and difference. You may hear the odd song that has a unique flair but few artists come in with such a kaleidoscopic and inventive approach to music. That is not to say Blake’s Fortune has come in with a Paul’s Boutique style of album (Beastie Boys) but neither does it sit still and play it cool. There is a banquet of different stories, sounds and possibilities.  I am always surprised when new artists play it safe on their first album and do not take chances. Maybe it is a commercial risk but, considering most are not under the radar of the big labels, they have the opportunity to do something unexpected and stand out. Far too many are repeating what others have said or producing rather average albums. Musicians like Blake’s Fortune are not looking for the big streaming figures and getting into the charts. Here is a pure and proper musician who is inspired by multiple genres and artists – putting this into his work and matching that with stories from his past and present. Whether this will continue as he goes deeper into his career I am not sure – I would like to think it will. At this early stage; the signs are promising and it looks very rosy. Hello World has that wide-ranging ethos but manages to keep things grounded and focused. The songs are personal and intimate but, when you least expect it, they expand and take you somewhere else. A heady brew that many of his peers could learn from. I am excited to see where John Lennon’s alter ego can go and what the future holds.

Before I look at a song from his album, I wanted to talk about social media and images. The man behind the music has a lot of promise and aesthetic appeal. That is not saying he should be a model or shooting for calendars but there is an approachable and captivating artist that deserves greater representation. This review has a few photos but the vast majority do not feature John Lennon. One of my greatest tirades is when taking musicians to task regarding photographs. It can be quite frustrating when they do not put images online and want the music to do all the talking. That is something that irks me: no musician worth their salt is strong enough to ignore visual demands and solid music will only get you so far. In the case of Blake’s Fortune, there is a modesty and humbleness that dictates this omission – rather than an egotistical approach to his sounds and image. I would like to see him captured on the streets of Dublin as, not only will that ensure people put a face to the music but mean the big magazines and websites will go for him. The Dublin artists I mentioned earlier, between them, have a wide range of images and have social media pages fulsome and updated. Blake’s Fortune impresses me because of the number of sites one can find him on. All the social media and music-streaming platforms are included and he has an official website. That is a big and important aspect many musicians are overlooking. The only way to better this is for Blake’s Fortune to put more photos up and, perhaps, a bit more background and biography. He is a strong musician that has years ahead: getting a jump on these kinds of demands is paramount. Another thing I would like to see from him is some music videos. Maybe that is planned but, when promoting an album, YouTube visibility is vital. So many of the songs provoke clear images and fascinating stories. Having those represented through videos would bring more listeners in and get a greater number of followers onto his social media pages. Blake’s Fortune has a good fanbase but can increase the numbers with a few tweaks and developments. Maybe, again, that will come in time and something I would like to see happen.

The opening strings of Heart’s Roulette get you into the countryside and the landscape. Lennon’s voice is soft and assured but does not needlessly race and emote. There is a dignity and control that means the words are punctuated and precise. It seems like things have fallen apart of the seams and come apart. “Bridge the gap that was awfully/across my heart” is an example of lyrics that are oblique and interesting. The masculine, assured vocal has plenty of emotional and romance but there is some caution and wariness. Maybe things have gone sour in a relationship or, as the song title suggests, love is a real gamble. A past relationship may have made the hero sceptical but a new girl can change all of this. It seems like he is directing his words to a new love: someone who can overturn the bad days and bring some new inspiration to his life. I am not sure whether Heart’s Roulette is the result of a break-up but there are definite heartaches at work. When you think the song is going to be a straightforward and accessible thing – those who judge Folk and music upon few words – there are luscious and serene female vocals that back the hero up. It is a shot of colour and sensuality that raises the shivers and takes the mind elsewhere. I started off in the countryside – the sensation of rolling fields and pastoral solitude – but, now, go into the bedroom. Not in a seedy way but it seems like pillow-talk and intimate conversation is coming in. “Dreams can pull us together”, it is said. The hero has a hopefulness and wants to transition to better times. The heroine, it seems, left the bed for the sea.

It is quite an old-world view of fleeing lovers and new lands. The hero looks around and sees the heroine depart. Trying to take this all in; he casts the spotlight into his own soul and wonders where it went wrong. Maybe it was a natural breakup or the two were on different pages – she wanted something different and a new way of life. Whatever the origins, I get the sense of redemption and renewal. The hero, backed by gorgeous female vocals, investigates the wreckage but, rather than lament and wallow, seems to have a pragmatic imagination. Things will get better but it is important to take lessons away from this current love. I mentioned how a new love could be on his mind but I cannot shake that sense of being in the bedroom and looking from the window. The wilds and oceans are outside and, holding his heart firmly, there is a young man trying to make sense of things. The compositional broadens and expands as the song progresses. There are harder strings and Indie touches; bigger percussive influence and a change in the vocal dynamic. The hero did not expect to win the game of roulette but wants to take a chance. Fiddle and falsetto blends with electric licks and a stringent approach – a man who has doubts but wants things to be better. Those wordless vocals are such an inherent part of the song’s charm and strength. There are few lyrics on Heart’s Roulette but, the ones there are, give you all the story and revelation you need. Despite that; there is mystery and room for interpretation. Whether the hero found satisfaction and bonded with the new love – or was haunted by the fallout of the relationship – I am not sure but would like to imagine there is hope and new lease. The final stages of the song build those vocals and perfectly melt traditional Irish Folk and modern Indie. There is flair and energy but that passion and traditional element of Irish folklore. You swim through the song and imagine yourself out at sea. From the opening segments – where you picture countryside and calm – you go to the bedroom and the hero looking out. By the end; you are on the boat with the heroine and, perhaps, the hero is following her. Heart’s Roulette is a song that tackles lost love and the risk and gambles of relationships. It is a new take and aspect of love and the way it can take you by surprise.

I have written about Heart’s Roulette and why it represents Hello World perfectly. It is a song that gets inside the head and captures the heart. That brilliant track is in great company: the album has some brilliant moments and consistent quality. What grabs me about the album is the variation throughout. Some reviewers have noted how the music is Indie-Folk and has shades of War on Drugs. They are a band getting a lot of acclaim right now so is a good thing for Blake’s Fortune. To be fair, that comparison does not fully appreciate the talent and original aspects of his music. I will end by returning to some points I investigated early. At the moment, I am looking at Blake’s Fortune’s social media feeds and there is a lot of interesting developments. Not only has he recently encountered The Divine Comedy’s Neil Hannon – a cheeky signed photo and all – but the new album has been included in stores around Dublin. It seems things are going really well for John Lennon so I wonder how far he can go. I guess there are gigs happening around E.I.R.E. and, maybe, Northern Ireland. I am not sure whether artists from the South of Ireland are willing to gig there or if there are tensions still. I would not like to say but hope it is possible for Lennon to travel to the North. In any case; he can come to the U.K. and perform in countries like Scotland and England. We here would love to see him perform in places like London, Brighton and Manchester. There are so many areas that would welcome the fantastic music of Blake’s Fortune. Maybe he is already planning on coming to England but, maybe, financial restrictions mean he might stay in Dublin for a while. I can see the young songwriter making big strides in years to come and rising through the ranks.

Coming back to the Dublin music scene and the quality one can see there. The Grand Social and The Cobblestone are a couple of great venues that many local artists are taking advantage of. Vicar Street has played host to comedians but it is the musicians that pass through the doors that remain in the memory. It is a great space for artists of all genres to play to a welcoming and passionate city. The Button Factory and Whelan’s are incredible venues and, between them, having seen some legends of music pass through the doors – including Nick Cave and Jeff Buckley. There is so much to recommend about Dublin’s music scene – a part of the world that gets overlooked by many. Blake’s Fortune is part of an incredible scene that has so many world-class musicians performing. It is a magnificent part of the world and one you should naturally look to when it comes to future legends. I hope Blake’s Fortune takes full advantage of the city and the venues scattered throughout. Even if he does not play over there for a while; his music is going down a storm and it cannot be long before there are big demands around the world. I will end by looking at his music and how he is adding new life into Indie-Folk. That genre gets a bad reputation because, many associates it with a certain listlessness and fatigue. Whether you class Blake’s Fortune as pure Folk or Indie: he has so many different styles working through Hello World. It is hard to pin the man down but, on the surface, one might predict and judge. John Lennon has the look of a man one might find strumming the guitar and performing something gentle and unengaging. That is stereotyping and something a lot of critics and music-lovers do.

One cannot jump to conclusions and assume an artist is the grand total of their image. It takes merely a few minutes before John Lennon’s incredible music gets into the imagination. He portrays sides of Folk that would please fans of Joni Mitchell and Nick Drake but, dig deep, and there is a modern sensibility that is fresh and exciting. He has incredible songwriting ability and can take the listener in multiple directions. The songs are deep and compelling; the singing varies from warm to rousing. An accomplished composer who feeds from the city and people. Earlier, I listed a few of the artists who are putting Dublin on the map. The city has always produced great music but, recently, too many eyes have been cast elsewhere. It is musicians like Blake’s Fortune that mean Dublin will always be relevant and exceptional. The range and diversity of sounds is amazing. Maybe you feel Ireland will have a very limited sense of musicianship but it is as modern and nimble as any other nation. The supportive and rich music scene is encouraging its artists to remain and support one another. That is rare to find and is a shining example to other parts of the world. I will end this now but want to congratulate Blake’s Fortune on a terrific album and wonderful sound. I wish I could write more – aware people might be losing concentration – but I hope I have represented his qualities and personality appropriately. It has been great bonding with a personal and approachable musician who writes music that, somehow, fuses universal with the individual. I will follow his career because, in years to come, more people…

WILL be enriched by Blake’s Fortune.

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Follow Blake’s Fortune

FEATURE: The Rise of the British Festival Scene: A Time for Celebration?

FEATURE: 

 The Rise of the British Festival Scene: A Time for Celebration?

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OVER the weekend, I will be looking at a range of themes…

and sides of music. I will address Hip-Hop and the growing influence it has had – and how it has evolved the past three decades – and other cool things. That is for then but, for now, I am interested in the festival scene of Britain. In the news, the past few weeks, we have heard reports of bad weather afflicting various festivals. An article by The Independent investigated claims, by patrons of BoomTown festival, that people were fainting in hostile conditions – having to queue for hours and barely moving:

“The searches are very thorough this year which as previously warned is lengthening queuing time - speed this up by using amnesty bins.”

Later, just before 3pm, the festival tweeted: “GATES UPDATE: All gates are now open. Thank you for your continued patience.”

Cordelia Keston, a ticket-owner who was still queuing at the time of writing (5.20pm), spoke to us about her experiences live from the scene stating she had arrived two and a half hours previous and had only moved a maximum of “50 metres.”

Describing the queue's movement as “snail-pace,” Keston said: “We're trying to stay optimistic but there are no stewards around telling anyone anything. We feel a bit like sheep - there are no barriers, we're all in a huddle.”

Commenting on the reports of fainting, she told us that all she hadn't seen anybody pass out herself and had earlier seen someone handing out water which was then chaotically “thrown” into the crowd so everyone got some”.

We cannot do much about the British weather but it seems, in order to make festivals as secure as possible; we are compromising public safety to an extent. Of course, a couple of festivals are going to be afflicted with logistical and security issues. I think, in the case of BoomTown, there were some failings – which marred an, otherwise, great event. There are, as we know, so many other festivals occurring around the country that one can attend. It makes me wonder, when it comes to queuing and complaints, where the issue lies. Naturally, people want to come and see live music but are we being over-protective and under-resourced?

Describing the queue's movement as “snail-pace,” Keston said: “We're trying to stay optimistic but there are no stewards around telling anyone anything. We feel a bit like sheep - there are no barriers, we're all in a huddle.”

Commenting on the reports of fainting, she told us that all she hadn't seen anybody pass out herself and had earlier seen someone handing out water which was then chaotically “thrown” into the crowd so everyone got some”.

We cannot do much about the British weather but it seems, in order to make festivals as secure as possible; we are compromising public safety to an extent. Of course, a couple of festivals are going to be afflicted with logistical and security issues. I think, in the case of BoomTown, there were some failings – which marred an, otherwise, great event. There are, as we know, so many other festivals occurring around the country that one can attend. It makes me wonder, when it comes to queuing and complaints, where the issue lies. Naturally, people want to come and see live music but are we being over-protective and under-resourced?

IN THIS PHOTO: BoomTown festival (2016)

The threat of terrorism is real and ever-present but it seems like security has been stepped-up hugely in the past year. Maybe it is the increase in attendees that means festival staff are unable to cope with the huge numbers. We must protect everyone who attends a festival but I feel we are a bit too nervy and over-protective in the wake of recent attacks. One can never protect and safeguard every public gathering but there needs to be vigilance. I am not sure the exact details of BoomTown but let’s hope things have improved for the last day or two. Weather...we can do nothing about – it is one of those things that can affect a festival immeasurably. Rather the bemoan the grievances and problems; let’s acknowledge the great events happening around the country and the loyal music-lovers willing to risk rain and rancour.

IN THIS PHOTO: Eva Lazarus (who performed at last year's BoomTown)

Victorious Festival is one of the more-recent events that shows how passionate the young generation are (about them). That was set-up in 2012 by three friends – James Ralls, Ben Miles and Andy Marsh – and will go down from 25th to 27th of this month, in Southsea. There are some big names on the bill: it is recognised as one of the best family-friendly festivals in the country. V Festival is on 18th and is that hardy perennial (if that is the right gardening-related term?!) that brings in a, predominantly, younger crowd. Virgin V Festival 2017 and Creamfields are up soon and it means August is going to a hot one. After that, Reading and Leeds will bring in a very large and eager throng. Whatever your tastes and preferences: there is a festival that suits your tastes. With so many fears surrounding the dwindling of live venues around the nation; I wonder whether festivals are replacing smaller spaces – people able to afford a once-a-year jaunt rather than regular attendance. It is encouraging to see the number of festivals increase. People are getting out there and keen to soak up live music.

PHOTO CREDIT: Jenna Foxton

Those big festivals – Reading and Leeds; Glastonbury – pulls in more mainstream tastes; same can be said of Bestival and Victorious. Radio 1 has their Big Weekend and there are festivals representing the biggest radio stations in the country. Even though Secret Garden Party bade farewell this year: it is one of those boutique festivals that has had an enormous effect and inspired other organisers to change their ways and make a more varied and inspiring festival. I will not go into that side of things but am pleased there are so many smaller, unique festivals providing a worthy alternative to the mainstream. I wanted to update my feature regarding festivals – I wrote one a couple of months back – because, there and goods and bads to the rise of the festival scene. I can only imagine how hard it is for organisers making their lineups eclectic and original.

IN THIS PHOTO: V Festival

One looks at the festival posters and sees a lot of the same artists appearing. That is good for reasons – if you do not live near one festival, and want to see an artist, you can catch them elsewhere – and provided a steady yearly income. It also means, given the number of festivals, a lot of the best upcoming artists have a platform to perform on. The best thing about the festival explosion is the choice and health of our music economy. Genres and tastes are not being excluded: one can catch the best Dance, Metal and Alternative sounds without having to travel too far. The fact so many artists appear at many festivals does not necessarily put people off. Such is the richness and the sheer number of artists at each festival; the odd replication is inevitable. Many might look at lineups and say there is too much predictability and homogenisation. I will address that in the final part but, before then, the boom and fertility of new festivals. With every Secret Garden Party – and, because it is no more – there are two or three popping up.

IN THIS PHOTO: KT Tunstall (she plays Towersey Festival in Thame, on Friday, 25 August, 2017 (18:00)

The fact 'everyday Joes/Jos' can set up their own festivals means it is more achievable and ‘for the people’. There are those corporate festivals that continue to dominate but the emergence of promising new festivals means the balance might redress in the coming years. At any rate, it is positive for musicians having so many chances to perform – and the associated freedom, choice and availability for music-goers. Many might be dissuaded by the terrorist attacks and threats to our national security. That doesn’t seem to be the case this year: business is booming and people are unaffected (relatively) by those atrocities. One can go here to get a list of all the festivals happening in the coming months – the volume and variation is staggering! The fact more people are getting out there and desperate to get to festivals can only be a good thing. It means international artists – who might not have considering straying beyond big U.S. festivals in the past – are tempted here and it shows Britain’s music economy, this side of it, at least, is booming. The simple endorphin-rush and community aspect of festivals means the more we have (festivals); the greater the feel-good factor.

There are ‘bad’ factors that are more complex than one might imagine. One might ask how much money those big stars get. Does someone like Ed Sheeran or Foo Fighters make a bundle from their appearances at festivals like Glastonbury?! A recent article, explained:

“Radiohead, Katy Perry and Ed Sheeran are among those taking to the stage at this year’s event, but Eavis has said it won’t do much for their bank balances.

She told BBC 6 Music’s Matt Everitt that acts earn “less than 10%” of what they could make at other festivals.

"We're not in a situation where we're able to just give people enormous amounts of money," she explained.

"So we're really grateful for the bands that we get, because they're basically doing it for the love of it."

Founder Michael Eavis had, for context, previously revealed that £200,000 was once paid to Coldplay.

“Although it sounds a lot, they could have charged me far more,” he said at the time.

Oasis, for example, were believed to be paid upwards of £1m when they topped the bill at Reading and Leeds in 2000.

Oxfam, WaterAid and Greenpeace are among the charities who benefit from the money Glastonbury makes, rather than the musicians who take part”.

An earlier piece by The Telegraph shed more light on the complexities and rationale:

“Mintel’s senior leisure analyst, Michael Oliver, says this growth has been down to two key factors. Firstly, there has been an 8pc increase in the average ticket price for major festivals between 2013 and 2015. Secondly, and perhaps most crucially, is what he terms the “explosion” in the number of festivals since 2010.

As an example, the number of festivals listed on festival website eFestivals has jumped from 496 in 2007 to 1,070 last year. Steve Heap, chairman of the Event Industry Forum and general secretary of the Association of Festival Organisers, says the industry has been “swamped” with new festivals.

 “More and more of these events are cropping up, and more and more people are realising that, if they want to go to festivals, they can go to one relatively near to home,” he says. As well as the number, the nature of festivals has also changed dramatically, with greater focus on the “experience” of the event, rather than just headline acts. “More and more festivals don’t depend on the big act,” Heap says.

“They depend on putting on a great experience which has got a lot more to it than just the artist and the music.” So, if everything is going swimmingly, why are new festivals collapsing? Heap says, on the whole, there are always “a few” festivals that either close down, collapse or go bankrupt each year.

“Every time one closes down, two others start,” he says. Perhaps that is the problem. There is a concern that the market has become oversaturated and will plateau as a growing number of people try their hand at running a festival, seeing it as an easy ticket to riches.

That pot of gold very rarely materialises, though, and Heap says only a few of the smaller festivals are financially lucrative. “It is harder now than ever to make a profit,” he says. “Apart from the big boys, the festival scene is not making loads of profit. “The new ones coming up have a crack at it and think themselves very lucky if they just get by. Some of them, especially the ones who think they will make a quick buck, usually don’t and quite often just collapse.”

IN THIS PHOTO: Tiesto

One of the biggest hurdles to profit is the considerable cost of organisational factors such as the staging, lighting, speakers and lavatories, which can very easily – and very quickly – spiral out of control. The second major problem is artist fees. As is well documented, a decline in record sales has led musicians increasingly to view live performances as their primary source of income. Because of that, the artists are charging higher fees than ever before.

Without the musicians, it can be incredibly hard to sell tickets, but with the artists, the festival’s balance sheet can become strained. Neil Warnock, head of worldwide music at United Talent Agency, represents artists such as Glastonbury headliners Muse, Motörhead and Dolly Parton.

He says the fees paid to artists at festivals have become “far more attractive” in recent years. “We have almost gone back now, full circle, to artists earning their money on the road, like they did in the ’60s,” he said”.

IN THIS PHOTO: Foo Fighters (who, like the other headliners at Glastonbury, were not paid as much as one might imagine)

I guess there is an intent desire and passion in the festival stars. They are not in it for the loot and, within reasonable boundaries, are prepared to take a pay-cut. The warnings can’t be that bad but one imagines the payment for smaller acts is a lot more modest. I suppose, if one wants to put themselves on the map, they have to tour and get out there – often barely making a profit from a year of touring. Maybe that desire and push to get exposure is forcing many to, not only perform at as many festivals as possible, but be prepared to play for less money than usual. There are those security concerns but, I guess, in a time where terrorism is a very real threat; can we undermine and under-source security personnel? The recent fiascos at Boomtown and other festivals have been as much dictated by the weather as human error. It is inevitable there will be some mishaps but there are definite creases to be ironed-out. There have been fights and complaints, yes, but that was the results of a ‘perfect’ storm: the delays, heat and invariable stresses that built up. It is a rare exception but one we need to learn from. We can see, from the creation of new festivals and masses flocking to them, the British music scene – in this dimension and corner – is burgeoning and healthy. My hope is this proliferation and blossoming lets the government and decision-makers know – who affect the funding and survival of small venues – realise there is an enormous desire for…

 IN THIS PHOTO: Secret Garden Party (2015)

INCREDIBLE live music.

INTERVIEW: Mari

INTERVIEW: 

 Mari

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THE stock of Italian-born, British-based artist Mari...

is rising considerably right now. She is, presently, working on her second album and has gathered fans from around the globe. I talk to her about her background and how, she feels, she has progressed as an artist. In a few weeks, she is in London performing as part of an ensemble group – a collection of musicians paying tribute to the great Jeff Buckley (and his only studio album, Grace). I ask about that night and what one might expect; collaborating with a long-time friend of Buckley, Gary Lucas, and how recording (for her new album) is going.

She discusses those artists instrumental forging her as an artist and how British music differs from that which she was raised on; advice to new artists coming through and how she came to discover music in the first place.

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Hi, Mari. How are you? How has your week been?

Hi, Sam.

I am very well, thanks! 

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

Hi, everyone.

I'm Mari Conti and I am a singer-songwriter – working, at the moment, on my second album (which I hope to share with you soon).

Are you working on new music at the moment? Are there ideas forming in the form of an E.P./single?

Yes, I do.

I am currently finishing my second album with producer and singer-songwriter, Mozez Wright - for Numen Records (record label). Mozez and I collaborated already in the past: we co- wrote my debut album, Gentle Beauty (Numen Records).

For this next album, we are thinking to go out first with an E.P., and then, to release the album - but we don't know as yet...

Blue Is My Favourite Colour was (the single) released last year and got a huge reaction. Were you surprised by the big reaction that got? What was it like working with Mozez on that track?

To be honest with you; I was a bit surprised mostly, because, I think that the meaning - and the lyrics - of the track are quite strong. Most of the times an emergent artist, like myself, should go out, maybe, with songs a little bit more 'Pop'. 

But, me and Mozez believe in the power of messages through the music – and, in this respect, we need to follow our desires. I’ll take this opportunity to thank the Italian songwriter Vincenzo Incenzo - with whom we co -wrote the track. He is amazing (check him out!).

Working with Mozez has been a great experience for my artistic growth. I was one of his huge fans (at the time, he was the frontman for the band, Zero 7) and still, I am! I consider myself very lucky for having met him - and for being produced by him for the second time.

Can you tell me how you got into music and the kind of songs you were playing in those early days?

I have always been immersed in music.

Since I was a teenager, I started to sing in several bands across Italy and  Europe. I have studied a bit of piano and vocals for a long time. 

I have always been curious in (knowing) different kinds of music. Initially, I used to sing other artists songs: putting together many different cover bands. It's been ten years-or-so that I have been writing my own tracks.

I came across to the Trip-Hop and Chillout music - discovering bands like Zero 7, Air; Goldfrapp, Massive Attack; Portishead... I literally fell in love with that sort of dreamy, spooky music and sound. 

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Did you grow up in a musical family? Who were the artists your parents were playing around the house?

My parents are not musicians but they love music.

When I was a little girl, my dad and mum used to play '1960s and '70s records on their jukebox; listening to all kind of artists and music (Rock, Blues; Soul...Marvin Gaye, Nina Simone; Ben E. King, The Beatles - just to name a few).

I used to listen to some Italian music as well - especially Lucio Battisti (I love him!) and Mina. 

You were born in Italy but live in London. How does the music scene differ here and what compelled you to relocate?

When I decided to move in London, I originally had an invitation from Mozez to spend some time there; trying to write an album together. I (just) accepted straight away because I thought Mozez was the perfect person to understand my inner musical universe.

I also thought I would have had more chances in England rather than in Italy - for my music to be heard from a wider crowd. That's because I think the nature of my sound is still a bit far from what the Italian musical approach is.

But, my dream is, of course, to be appreciated a little bit, everywhere!

Tell me about your involvement with the Grace/Jeff Buckley tribute that will take place on 9th September? What is the night/event all about?

I’ve known Gary (since) more than ten years.

We had other occasions in the past to perform together, and every time, it is such a powerful experience for me!

The event is a tribute to Jeff Buckley and his incredible voice and talent. For this appointment, I have been invited by Gary Lucas to perform with him at Upstairs at the Ritzy in Brixton, London (on 9th September, 2017).

We will perform some of Lucas and Buckley’s songs that they wrote together during their collaboration (between 1991 and 1992). Some of the songs we will play are actually contained in Jeff Buckley album, Songs to No One (released in 2002). 

I am honoured to give my tribute to Jeff Buckley and I am glad sharing the stage with a friend and incredible artist such as Gary Lucas. There will be also other artists and band playing on that night. I am sure it will be a great night! 

IN THIS PHOTO: Jeff Buckley

You have collaborated with Gary Lucas – who wrote and performed with Buckley. What is he like and how involved has he been involved in the organisation of the tribute event? 

Gary is a sensitive and good-hearted person; an amazing musician and composer – and, also, very generous. He gave me the chance to write together (with him) a song dedicated to Jeff Buckley - which was meant to be given to him before he left this world. It is an unreleased song that I wrote the lyrics and the melody for - and Gary Lucas composed the music. 

I wish, one day, it could be heard out there. I am not aware of how involved Gary is in the creation of this particular event. However, Gary has been - and he is - a supporter of Jeff's music for years - being (also) a collaborator of his.

You share the bill, that night, with several other performers. Do you know what you’ll be playing and what the other acts are going to sing?

We are gonna play some songs that Gary and Jeff wrote together but I don't know what the other artists are going to sing and perform.

How did you come to hear/discover Buckley’s work? Have you always been a fan of his? What does his music mean to you?

Some time ago, a dear friend of mine, Francesca, suggested I listen to the album, Grace. At that time, the debut album of Jeff Buckley had just been released. 

I never heard his music until that moment but I trusted her (she always had a great musical taste! Thank you forever, Francesca).

I remember, one day, I decided to listen to Grace for the first time. In that moment, I think I had one of the most mystical experiences ever of my life. It was a sort of blast. I remember at a point tears came out from my eyes - and I just couldn't stop them. I think that's when I couldn't be able to stop listening to his music.

I started to search everywhere for his C.D.s, bootlegs; D.V.D.s, books…Jeff's voice is such a blessing to me.

Are there any tour dates later in the year? Where can we see you perform?

I am currently working on my next album and I am a bit busy with different projects at the moment. I think I will start again to perform, hopefully, over the next few months - in winter, maybe.

Who are new acts you recommend we check out?

There are two artists, Mico and Michael Arkk, who are coming out with some good and new music. They are currently working with Mozez (as well) for Numen Records record label.

I have heard already some of their unreleased music - and I think they are very interesting artists to check out.

If you had to select the three albums that mean the most to you; which would it be and why?

Ok…

It’s a bit difficult to reduce to three albums (my favourite ones) but I'll try.

I would say Grace (Jeff Buckley); Wings (Mozez) and Felt Mountain (Goldfrapp).

What advice would you give to artists coming through right now? 

I would suggest one be courageous in discovering as much music as possible - of all kinds. I believe that is fundamental for an artist to be passionate about other artists' music. 

It is important and it helps to discover your own musical vision and sound.

Finally, and for being a good sport, you can name a song and I'll play it here ( not one of yours as I'll do that).

Ok...just the first one (it came across) to my mind right now…

All I Need by Air! 

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INTERVIEW: Moxi

INTERVIEW:

 Moxi

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OVER in Los Angeles; the Indie/Dream-Pop duo Moxi…

are creating love and buzz from their music. Anna and Andy Toy provide ethereal vocals and moody keys (respectively) and source from a range of sounds and genres – including cinematic grandeur, the 1980s’ New Wave movement and dark threads. It is that darkness and sense of reflection that is brought up in the interview. I ask the duo – Anna fields most of the responses – how they got together and what they can tell me about their new single, Paclew. I find out about their E.P., Figures Bathed in Light, and why they chose to write the songs in a cabin out in Big Bear.

They explain some of the inspiration and tales that go into the E.P.; where they will be performing in the coming weeks and whether there’s any advice they would give to newcomer songwriters.

________

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

We are great!

Our week has been really fun because we released our new single, Paclew, last week - and we've continued to get so much love on it.

It's really exciting. 

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

We are Anna and Andy Toy of Moxi. 

Moxi is a Dream-Pop duo from Los Angeles. We write dreamy music about all sorts of weird things. 

We love our cat-child Lewis the most and spend our free time drinking wine, cooking at home; watching horror movies and listening to True Crime podcasts.  

Paclew is the new single. How did the song come together and what is the idea behind it?  

Andy writes all the tracks for Moxi and he had written this track and titled it Paclew (after our cat) - sort of as a place-holder name but we never changed it. While the song was partially inspired by the love for our cat, Mr. Lewis; I (Anna) wrote the lyrics about the depressed dark and twisty state my mind loves to go to way too often. 

The song is about overcoming that and rising above it.

It is taken from the upcoming E.P., Figures Bathed in Light. What kind of themes and songs can we expect from the E.P.?  

This E.P. is, probably, our most cohesively-themed E.P. yet. 

We wrote all of the songs on a writing retreat we took in Big Bear, CA last year. We rented a cabin in the middle of nowhere for a few days: holed ourselves up in it with a ton of wine and wrote what is now the Figures Bathed in Light E.P. 

We wanted to explore themes of light vs. dark; good and evil, spirituality; the supernatural. All of this probably sounds kind of out-there - but we've both always been fascinated by things we can't explain. 

A lot of the songs on the E.P. are also written about personal life events - navigating our way through the ups and downs of life. 

Am I right in thinking the title track stemmed from a near-fatal car crash? How did a life-threatening situation like that lead to a moment of musical brilliance?  

Yes, you are right!

We were involved in a terrible car crash a few years ago in which we both walked away with only a few scratches. It was a terrifying experience and we both felt like we survived for a reason.

Anna: I remember getting home that night and crying myself to sleep because I just felt like we had been so close to death - and I didn't really know how to process it. I always process my feelings by writing music - so we went pretty full force into creating as much art as we could after that. We wrote and recorded the demo. for Figures Bathed in Light a few weeks later.  

Andy: We both felt like we were so close to death and that nearness became a catalyst for creativity for me. I wanted to try to recreate that emotion through music.

It was produced by Emmy Award-winning songwriter Bobby Hartry; Bryan Cook mixed. What was it like working with those kinds of people? Did they add a lot to the recording process? 

We absolutely LOVE working with both of these talented guys. They both play such a big part in Moxi. 

Anna: We met Bryan at a backyard house show we played five-or-so years ago. I remember talking to him after the show and I knew instantly we were kindred spirits. He's a true artist in the way he approaches mixing and I love the way he thinks outside the box. It's so fun to give him a song and see the way he transforms it through the mix.  

Andy: Bobby is a creative genius and we love working with him. He remains our connection with reality when we get inside our heads too much. I remember sending him five versions of the same song one afternoon - because I couldn't decide what direction to take the song in. Haha!  

Is it true a lot of the E.P. came together in a desolate, remote cabin in Big Bear? What was the reason behind going up there? Was it easy to disconnect from real life, in a sense, and isolate yourselves?  

Yes, this is all true. 

Almost all the songs on the E.P. were written on this weekend getaway to Big Bear. We'd been feeling creative but wanted a change of scenery and pace to get us into the right headspace for writing. We had so much fun. We rented the cutest cabin, brought a ton of wine; cooked veggie lasagna and didn't leave the house for three days. We wrote all day and would stay up late drinking Chartreuse and working out lyrics. 

For us, writing is the fun part and it comes pretty naturally.  It's how we process things so holing up in a cabin for three days to write music was a little slice of Heaven to us.

What did you pick up from that environment that you wouldn’t if you were based in a city?  

Well, for one, we didn't have any of the normal distractions we would have had if we were home in the city. I also love cold weather, snow and forests. I (Anna) grew up in Colorado - which L.A. is nothing like - so getting away and being somewhere cold always refreshes and inspires me. 

We also took this trip knowing we wanted to write several songs - so just having focus and zero distractions really goes a long way.  

Anna and Andy. Can you tell me how you both got together and started playing music? Was it an instant and easy bond? 

Anna: I used to write and play Folk music as a solo artist. Andy was hired to play on one of my E.P.s so we met in the studio. I was going through the world’s worst breakup at the time and he always jokes that when he met me he was like: "Who is that depressed girl in the corner?” 

He started playing live with me and we became fast friends. We started recording covers at his house on the weekend for fun and everything always felt so easy and right together, creatively. I got a call to write a song for a housing development commercial and called Andy to see if he'd want to help me...

He sent over a track that afternoon and I scribbled lyrics on my drive to his house and, about three hours later, we had written the song, In my Dreams - which would later become the title-track to Moxi's first E.P. 

After we wrote our first song together, we knew we had something special. Moxi is very much an equal effort on both of our parts - and I don't think either of us would have made music like this if we hadn't found each other. 

So, I guess we were destined.

So far, you have had music played on T.V. and shared the stage with big names; earned an impressive amount of streaming figures on Spotify. Is there a memory that stands out for each of you? 

Honestly; all of it has been so fun and there’s so many things that stand out for me. Some favorites would be opening for Gungor at the El Rey. That venue is just magical and the sound is insane in there. I think most of my favorite memories, thus far, have happened this last year with this project. We just filmed our first full-fledged ‘big kid’ music video and I'm so excited about it. 

We got to create and film it with two of our best friends - who just happen to be two of the most-talented video guys out there. I've been given so much creative freedom with this project and it's been so fun this year to dream up crazy ideas in my head - and then see them come to life.  

Do you have any tour dates approaching? Where can we come and see you play? 

YES!

We have several local shows: August 19th - Echo Park Rising, Echo Park CA; September 8th - Holiday in Costa Mesa, CA; September 28th - The Wayfarer in Costa Mesa, CA. 

MORE SHOWS COMING! 

Any plans regards coming to the U.K.? 

Oh, we would absolutely LOVE to come to the U.K. Someone reading this should bring us or invite us! Haha.

IN THIS PHOTO: Maggie Rogers

 Who are new acts you recommend we check out?  

Maggie Rogers is my new girl-crush. 

I also love Sofi Tukker. They are (just) such positive lights.

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IN THIS PHOTO: Sofi Tukker/PHOTO CREDIT : @luismoraphoto

If you had to select the one album that means most to you; which would it be and why? 

Anna: Ryan Adams - Demolition

I've listened to that record more than any album, probably, and it's one of those records that can speak to you in so many different ways. I think Ryan Adams is an absolute genius.  

What advice would you give to artists coming through right now?

Always be willing to learn and to put the hard work in. 

We've learned so much since we first started and now, more than ever, I understand that keeping an open mind and being willing to learn and try new things is so key. 

Don't be afraid to take the long-road because there’s so much to be learned from that. I'd also let young female artists know that we are all on our own journey and don't compare yourself to other people - because it's not going to do anything to help push you forward. 

Creating art is a daring and brave thing to do - so we have to stick together and encourage one another on our own individual paths.  

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FEATURE: Glen Campbell: Heavy on Our Minds

FEATURE:

 

Glen Campbell: 

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 Heavy on Our Minds

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I could not pass by the sad news that many woke up to today.

Every time a musician dies it is a tragic event but there is something extra-sad and profound when it comes to the loss of Glen Campbell. I shall split this (short) feature into a biography-Wikipedia-heavy bit and some personal input – before offering a playlist of Campbell’s best-loved songs. Listening to the radio today; one gets a real sense of the impact and effect Glen Campbell has had on the world of music. Let’s interject the Wikipedia, distilled biography of Campbell, first:

“Glen Travis Campbell (April 22, 1936 – August 8, 2017) was an American singer, songwriter, musician, television host, and actor. He is best known for a series of hits in the 1960s and 1970s, and for hosting a music and comedy variety show called The Glen Campbell Goodtime Hour on CBS television, from January 1969 through June 1972.[2]

During his 50 years in show business, Campbell released more than 70 albums. He sold 45 million records and accumulated 12 RIAA gold albums, four platinum albums, and one double-platinum album. He placed a total of 80 different songs on either the Billboard Country Chart, Billboard Hot 100, or Adult Contemporary Chart, of which 29 made the top 10 and of which nine reached number one on at least one of those charts. Campbell's hits include his recordings of John Hartford's "Gentle on My Mind"; Jimmy Webb's "By the Time I Get to Phoenix", "Wichita Lineman", and "Galveston"; Larry Weiss's "Rhinestone Cowboy"; and Allen Toussaint's "Southern Nights".

Campbell made history in 1967 by winning four Grammys in the country and pop categories. For "Gentle on My Mind", he received two awards incountry and western, "By the Time I Get to Phoenix" did the same in pop. Three of his early hits later won Grammy Hall of Fame Awards (2000, 2004, 2008), while Campbell himself won the Grammy Lifetime Achievement Award in 2012. He owns trophies for Male Vocalist of the Year from both the Country Music Association (CMA) and the Academy of Country Music (ACM), and took the CMA's top award as 1968 Entertainer of the Year. Campbell appeared as a supporting role in the film True Grit (1969), which earned him a Golden Globe nomination for Most Promising Newcomer. Campbell also sang the title song, which was nominated for an Academy Award”.

For a true reflection of Glen Campbell’s legacy; one must go back to the start and where it all began. Campbell moved to Los Angeles in 1960 – the hope was to ply his trade as a session musician. That seems extraordinary considering the legacy and impact he would make on music but, like many musicians, that was the way their career began. I hear tales when it comes to the work-rate and determination of Campbell. The number of sessions he would be involved with of a year would blow the mind – a voracious, passionate and curious musician keen to lay down his immense guitar-playing skills to some of the day’s best artists. Whilst working for a publishing company, American Music (1961), he started what was to become the world-famous Wrecking Crew collective – Campbell would work with everyone from Dean Martin, Nat King Cole; Elvis Presley, Frank Sinatra and the Monkees.

Crest Records, seeing the talent and breadth of Campbell, signed him up: he would release Turn Around, Look at Me soon after – it was a minor success and didn’t make much of a chart impact. That said, many contemporaries realised how special and unique Campbell was. In a day where many Rock and mainstream artists were unable to play the guitar – let alone across so many genres – here was a singular talent who could put them all to shame. That skill and incredible talent meant, by 1962, Campbell was signed to Capitol Records. Television appearances followed and, before you know it, people were reacting and falling for the charming Campbell – who started to tour with Beach Boys when Brian Wilson was going through personal troubles. There was a lot of experimentation but, by 1965, things were really starting to come together.

It was the 1965 hit, Universal Soldier (a cover of Buffy Sainte-Marie’s track), that gained him that shot of positive reaction – singling him out to many critics and big-wigs. Even if Campbell was quite outspoken regarding his views of drafting soldiers and pacifism – those who advocated burning draft cards, he felt, should be punished – it was a time that, to many, should have signalled success and future achievement. It was a rough period where follow-up singles were not performing as well as one had hoped. 1967 was a year where Campbell gained success with Gentle on My Mind (written by John Hartford) and By the Time I Get to Phoenix. It was 1968 that brought us Wichita Lineman and, winning four Grammy Awards – for the performances of Gentle on My Mind and By the Time I Get to Phoenix – it was the recognition and acclaim Campbell had been striving for.

That late-1960s period was a fruitful time. Most of his better-known songs were written by Jimmy Webb – he wrote Wichita Lineman and Galveston (among others). The success and impressive productivity continued into the 1970s. Having accrued a host of session-work names; his T.V. show, The Glen Campbell Goodtime Hour, put major names together. Neil Diamond, Johnny Cash and Bread were among the huge artists who Campbell introduced in the studio. That show ran until 1972 but the T.V./film exposure did not end there. A made-for-television movie, Strange Homecoming (1974) - and a series of hosting gigs - kept the American legend in the public consciousness. The mid-1970s was the second really productive and successful period when songs such as Rhinestone Cowboy and Southern Nights were released. The former became Campbell’s biggest-selling song and a track that many associate with Campbell and his legacy.

That is a biography and a brief snapshot of a legend whose incredible musical talents and voice captivated the world. An Alzheimer’s diagnosis in 2011 could have deterred the ailing Campbell but he was still prolific and active right up until his death. His final album, Adiós, was released in June - and gained a warm and positive critical reception. It is sad to hear of Campbell’s passing but one should be thankful a unique and astonishing musician made his impact on the world. One need only hear a vocal performance like Wichita Lineman to realise the effect and inspiration he has had on modern artists. Whether consciously or not; so many young musicians – not only Country stars – have taken from Campbell’s music.

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Whether an epic and attiring vocal or that wide-ranging and astonishing guitar-playing. Many associate Campbell with Country but the journeyman musician grew from meagre beginnings to become one of the world’s biggest names – performing alongside immense artists and playing in so many different styles. He was a performer who could adapt his voice and play any genre and song. His biggest hits are those Country anthems but one need only look through Campbell’s immense array of studio/live albums to know it is impossible to pin him down. The fact he reached eighty-one is a great innings but one would have liked Campbell to remain with us a lot longer. I have been listening to a lot of interviews he conducted and every time, he came across as compelling, rooted and entertaining. The anecdotes, explanations and insights gave you a real taste of the man. Such a warm and kind soul and, whether you agree with some of his politics and views, what shone through was the phenomenal, enduring music – that which continue to inspire musicians for decades to come. It is a sad day for reflection but, also, for celebration: a brilliant artist who made such an impact through his long and legendary career. As we remember Glen Campbell – and his classic hits – we can be safe in the knowledge there will never be anyone…

IN THIS PHOTO: Campbell with his wife, Kim Woollen

LIKE him again.

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INTERVIEW: Camden Cox

INTERVIEW: 

 Camden Cox

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ONE looks at Camden Cox in the video for her new single, Gold, and is…

instantly mesmerised and invested. It is a video that certainly catches the imagination and gets into the mind. I talk to her about that and the origin of the song. She tells me more about future plans and the kind of artists/albums that have forged and inspired her own music. There are strong Dance and Electro. vibes with the song – and a sprinkling of Pop – so I was keen to know how the song came together and what it is was like working on the track with Jaded and Mark Ralph.

Looking ahead to the coming months; Camden Cox explains where her music might take her; she provides some wise advice to upcoming artists and reveals a few of the artists she recommends we check out.

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Hi, Camden. How are you? How has your week been?

Hey! Great, thank you.

It's been a crazy week: knackered after being in the studio writing every day and promoting the new single - but ready to celebrate the release!

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

So. I'm Camden (real name: after Camden Palace - which is now the legendary Koko) and I'm a singer/songwriter who loves Dance music and heavy bass!

I grew up on Club music and Drum ‘n’ Bass - so I've always wanted to create something that people can party to. 

Gold is your latest track. What can you reveal about its origins and inspirations?

Gold means anything that is taken from you - be it money, sex; freedom, favours; trust, etc.

I was inspired by experience! 

Jaded and Mark Ralph helped bring the song to life. What role did they play and how instrumental were they?

I wrote Gold with Jaded in the studio one day.

I was jamming some melodies while the boys were in between the piano and the computer cooking up a storm. I wanted to express a situation I was in at the time, into lyrics, keeping it as indirect as possible!

We were all so happy with the demo: it was gritty and so old-school; about six-minutes-long! Then, we passed it over to Mark who got me into his studio to re-record the vocals with his sparkly equipment - where he then cut it down to a sensible length and took it to the next level!

In terms of sound; Gold has a real modern Dance vibe but has a gorgeous and romantic undertone. How personal is the song and were you inspired by any particular songs/artists when writing it?

The song is extremely personal.

it sounds like a happy party-banger, but, when you listen to the lyrics carefully, you'll find that there's real and relatable meaning behind them.

“Now I'm standing here alone/now you've got the gold” expresses the stupidity you feel once you realise you've let something go - and you should have been more careful!

In terms of sound: I was inspired by Touch Me (Rui da Silva) and Robin S. - Show Me Love.

 

The video looked like it was fun to shoot. Who directed it and what was it like filming?

It was so much fun!

I came up with the initial concept. I then presented that to Daniel Spencer (Turn and Shoot Photography) who added (even more) ideas: simplified it and took my vision into reality. We directed and edited it together - but he was the genius behind the final product.

It was a messy shoot; as you can imagine. We spent hours cleaning up glitter and gold paint but it was all worth it!

Will there be any more songs coming? An E.P., perhaps?

I'll definitely be releasing another single soon - probably in a couple of months’ time...

Can you tell me how you got into music? How young were you when you first discovered it?

I was always running around the house singing from such a young age - and I still have pretend-interviews that my dad filmed for me to make me feel like a Popstar!

He was in a band and my mum was a club promoter - so I was inspired by both of them for their love of music. As I got older, I started to get my head down and write lyrics (which were initially poems)!

Then, I used to sing them over anything I could get my hands on!

I guess everyone remembers the first song they discovered. Which was the track that first got into your mind?

I will always remember this song because I was obsessed with it before I even knew what music was: Orinoco Flow (Sail Away) by Enya!

I have no idea why I liked it so much but I now have the lyrics tattooed on my arm! 

Your own music has a contemporary vibe but I wonder who are the artists you grew up listening to?

I grew up listening to a variety of genres: from the likes of The Prodigy, Sweet Female Attitude; Pendulum, Faithless…to the opposite end of the spectrum: Britney Spears and The Spice Girls  - which is where I get my poppy tone from! 

The modern Pop market is competitive and varied. Do you ever worry about the demands and pressures in the industry? How do you think you stand out from your peers?

We're all going for the same thing but that's where the comparison ends. Anybody who works hard enough will get where they need to be. 

I've been making Dance music right from the get-go and it's only in the last couple of years it's become popular - but I just keep doing my thing and believing in myself.

IN THIS PHOTO: @cameronlouiswarren and @laurenmilesyh (with Camden Cox)

Everybody has something unique: so I just need to remember that I do too. 

Do you have any tour dates approaching? Where can we come and see you play?

I do!

I'm doing a quick set at Fire on August 18th - for the L.G.B.T. crowd! It's a club-night so I'll definitely be performing Gold and a couple of others!

I, then, have a headline show coming up - which I'll be announcing VERY SOON!

IN THIS PHOTO: Disciples

Who are new acts you recommend we check out?

My favourite act on the market right now has got to be Disciples. Their music is classy and has a quality Dance vibe.

Also, my boys Jaded are killing it right now with their latest tune, In the Morning. 

If you had to select the three albums that mean most to you; which would they be and why?

It would have to be Massive Attack - Collected

Because it's (just) the best ever.

Alex Clare - The Lateness of the Hour

Because I was super-inspired by him - and I referenced him a lot when I was trying to pin-down producers to work with.

Robyn - Robyn

Because I rinsed this album like you'll never know! I love her.

What advice would you give to artists coming through right now?

Believe in YOU and your vision.

Get a good team together who are passionate - and don't wait around for people to do things for you.

Only you can make this happen. 

Finally, and for being a good sport, you can name any song and I’ll play it here (not one of yours as I’ll do that).

Opal Blue - Taking My Love Away (TUNE)

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Follow Camden Cox

FEATURE: #NoFilter: The Music Photographers Shooting High

FEATURE:

 

#NoFilter:

 PHOTO CREDIT: Annie Leibovitz/IN THIS PHOTO: Keith Richards

 The Music Photographers Shooting High

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MY previous feature concerned music labels and those that are…

PHOTO CREDIT: Sacha Lecca

supporting and promoting the best talent around the world. I collated the finest labels and why, in my opinion, they were worth a serious look. I will, at some stage, concentrate on producers and an area of music that is relatively undersubscribed. We get into the mindset that all the glamour and excitement comes with a career as a musician. Many overlook the importance of those behind microphones and mixing desks – and those who photograph and film concerts/musicians. I know many music photographers and all have their own reasons for taking it up. It is the excitement of capturing that single moment. Defining a gig or encapsulating a particular look can stay in the memory for years. I included a famous photo (up-top) by Annie Leibovitz as she, in many people’s views, she is the finest music photographer who has ever lived. She has snapped iconic images of everyone from Iggy Pop, Paul McCartney and The White Stripes – photographing Hollywood stars like Angelina Jolie and Jennifer Lawrence.

PHOTO CREDIT: Christie Goodwin/IN THIS PHOTO: Katy Perry

There is a great article that provides a realistic and encouraging narrative of how to become a photographer – and the costs and realities involved. It does not take a lot of money to get started but, once that passion and ambition grows; the equipment needed to get those top-quality shots will climb. I can understand the desire photographers have and why they hanker to shoot that ‘perfect’ image. In a lot of ways; images of gigs/musicians can be more iconic and enduring than the music itself. A fantastic self-portrait or composition catches the eye and gets in the mind: a wonderful mid-gig photo is that visual documentation of a unique moment. The genuinely inventive and quality photographer are harder to get hold of than you’d imagine. I review so many great artists but they are let down by a surfeit of good-quality images. Hiring a photographer can be expensive but, if you get a selection of great shots on your social media, that makes a more attractive and appealing proposition.

IN THIS PHOTO: Ashley Osborn

Ashley Osborn, who features in this rundown, explained why she took up photography and the highlights she has discovered:

“I was shooting at least three shows a week in Chicago, editing each monthly issue, and working full-time at Starbucks. It was so much work but it was worth it. Things started to take off. I met a musician named Craig Owens in 2012 and I started shooting his band, Chiodos. Early in 2013, my friend and musician GOLDHOUSE asked me to join him for a weekend tour to take photos and document it. Then Chiodos asked if I could come out on Warped Tour that summer for a few days. My manager at Starbucks rearranged the books so I could take time off, still keep my job, and get paid. I don't know if that was [kosher], but I really appreciated it. In the fall of 2013, I went on my first tour with PVRIS. I was friends with Lynn Gunn, the band's vocalist/guitarist, and I'm pretty sure I cried when she asked me to come on tour. It was just them and me, and we were kind of winging it. I took photos of the tour, burned merch CDs on my laptop, and sold them at the shows. It was probably the hardest and most exciting month of my entire life, but it really solidified that I wanted to do this”.

To celebrate the pioneering and hard-working photographers; a list of the finest music snapper from around the world – with one of their typical shots, Instagram (and official/social media) page – and where one might find them snapping away…

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Rukes 

IN THIS PHOTO: Ellie Goulding

Location: Worldwide

Official: http://www.rukes.com/

Instagram: https://www.instagram.com/rukes/?hl=en

Jonathan Mannion

IN THIS PHOTO: Drake

Location: New York, U.S.A.

Official: https://www.jonathanmannion.com/

Instagram: https://www.instagram.com/jonathanmannion/?hl=en

Ashley Osborn

IN THIS PHOTO: Of Mice & Men

Location: Chicago, U.S.A.

Official: http://www.ashleyosbornphotography.com/

Instagram: https://www.instagram.com/ashleyosborn/?hl=en

Brook Bobbins

 IN THIS PHOTO: Frank Ocean

Location: New York, U.S.A.

Official: https://www.flickr.com/photos/crookrobbins/

Instagram: https://www.instagram.com/crookrobbins/?hl=en

Sacha Lecca

 IN THIS PHOTO: Mac DeMarco

Location: New York, U.S.A.

Tumblr: http://sachalecca.tumblr.com/

Instagram: https://www.instagram.com/sachalecca/?hl=en

Nabil

 IN THIS PHOTO: Kendrick Lamar

Location: Los Angeles, U.S.A.

Official: http://nabil.com/

Instagram: https://www.instagram.com/nabildo/?hl=en

Shay Rowan

Location: Manchester, U.K.

Flickr: https://www.flickr.com/photos/25880052@N08/

Twitter: https://twitter.com/shayster57

Christine Goodwin

 IN THIS PHOTO: Taylor Swift

Location: London, U.K.

Official: https://www.christiegoodwin.com/

Instagram: https://www.instagram.com/christiegoodwin/

Elie/'Visionelie'

IN THIS PHOTO: The Weeknd

Location: Toronto, Canada

Twitter: https://twitter.com/visionelie?lang=en

Instagram: https://www.instagram.com/elie/

Hannah Sider

 IN THIS PHOTO: Kitty Cash

Location: New York, U.S.A.

Official: http://hannahsider.com/

Instagram: https://www.instagram.com/hannahsider/?hl=en

Perri Cassie

IN THIS PHOTO: Kate Nash

Location: Melbourne, Australia

Official: http://ibravedtreacherousstreets.tumblr.com/

Flickr: https://www.flickr.com/photos/evil-twin/

Lindsey Best

Lindsey.jpg

 IN THIS PHOTO: Paramore

Location: Los Angles, U.S.A.

Official: http://www.lindseybest.com/

Instagram: https://www.instagram.com/lindzbest/

Thomas Falcone

 IN THIS PHOTO: All Time Low

Location: U.S.A.

Official: http://www.thomasfalcone.com/

Instagram: https://www.instagram.com/thomasfalcone/?hl=en

The Manc Photographer

 Location: Manchester, U.K.

Official: http://www.themancphotographer.co.uk/

Instagram: https://www.instagram.com/matteachus/

Thomas Brooker

 IN THIS PHOTO: Brutus (captured at Green Door Store)

Location: Brighton, U.K.

Official: http://tlbrooker.com/

Instagram: https://www.instagram.com/thomaslislebrooker/?hl=en

Lizzy Davis

 IN THIS PHOTO: Carla Coates of Butcher Babes

Location: Florida, U.S.A.

Official: https://lizzydavisphotography.com/

Instagram: https://www.instagram.com/llzzies/

Pat McGuire

IN THIS PHOTO: Jamie Reilly from The Blue Lenas

Location: Glasgow, U.K.

Facebook: https://www.facebook.com/pmg.photog/

Ami Barwell 

Location: U.K.

Official: http://www.musicphotographer.co.uk/

Instagram: https://www.instagram.com/amibarwell/

Ryan Johnston

IN THIS PHOTO: You Me at Six

Location: Glasgow, U.K.

Official: https://www.ryanjohnston.co/

Instagram: https://www.instagram.com/ryanjohnstonco/

Dean Chalkley

 IN THIS PHOTO: Rag 'n' Bone Man

Location: London, U.K.

Official: http://www.deanchalkley.com/                 

Instagram: https://www.instagram.com/deanchalkley_/

Trust a Fox

 Location: Manchester, U.K.

Official: https://www.trustafoxphotography.com/

Twitter: https://twitter.com/TrustFox

Casey McPerry

 IN THIS PHOTO: Machine Gun Kelly

Location: Worldwide

Official: http://caseymcperry.com/

Instagram: https://www.instagram.com/caseymcperry/?hl=en

Alexandra Gavillet

 IN THIS PHOTO: The Range

Location: Chicago, U.S.A.

Official: http://www.alexandragavillet.com/

Instagram: https://www.instagram.com/alexandra_gavillet/

 Brett Schewitz

 IN THIS PHOTO: Nic Cester from Jet

Location: Melbourne, Australia

Facebook: https://www.facebook.com/BrettSPhotography/

Instagram: https://instagram.com/http://www.instagram.com/schweppsrocka

INTERVIEW: Emma Conybeare

INTERVIEW: 

 Emma Conybeare

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THE last time (I think) I interviewed a D.J…

was when speaking with Carly Wilford last year. It is exciting to learn more about Emma Conybeare because she is a bit of a triple-threat talent. She is a prolific, respected and innovative D.J. who has worked for Hoxton Radio.

She is with Capital XTRA and is one of the most exciting talents in London at the moment. Conybeare is a sport’s brand model so I ask her about her work – including her campaigns with Puma. In addition, she is a keen collaborator and eager to promote and back fellow D.J.s and artists.

I ask the London-based D.J. about her radio and presenting work; what she has planned for the future; the new artists she recommends we take a look at – and how she transitioned from life in sleepy Tring (Hertfordshire): emerging like an ambitious butterfly into the buzz and light of London…

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Hi, Emma. How are you? How has your week been?

Hectic…super-hectic!

Juggling D.J. sets with live radio presenting and hosting a BT cycle event…. I wish there were more hours in the day (just so I could sleep)

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

Hello.

I’m a British T.V. presenter and Radio presenter (for Capital XTRA) – doing early-morning breakfast - D.J., model...

Recently, you worked at a MADE Festival and got to interview a range of artists. What was your highlight from the Festival?

I come from a small town in Hertfordshire (Tring) and, growing up, I was into my Drum and Bass music. At this festival, I got to interview all the D.Js. I was growing up with.

So, I had some of those star-struck moments when I got to speak to Chase & Status, Subfocus; Camo & Krooked.

Can you tell me when music first came into your life? What kind of artists did you grow up listening to?

Growing up in Tring: we didn’t really go out clubbing.i

It was a rare occasion because we were pretty far away from clubs; so, we ended up having house parties every weekend. This meant everybody was a D.J. (I mean…everybody).

The sort of music people played was Jungle and Drum and Bass. I was heavy into this until I went to university. It felt weird.

Quite literally, overnight, I was converted into a House and Deep-House Queen.

After you completed your Mathematics and Statics degree at Portsmouth University; you came to London to follow your passions. How important was the move to London and what compelled you to go from academia to something quite distinct from what you were studying?

I knew that I wasn’t going to get anywhere in Tring: It was too far away from things and, let’s face it…it was the place you go to retire. I’m a confident girl and I knew I had to knock on a few doors. I felt Tring was restricting.

London is a small city in a big place: you ended up bumping into people all the time and it is all about meeting the right people.

Many might recognise you from Capital XTRA. How did you become involved with the station and what drew you to being a D.J. in the first place?

I was working on Hoxton Radio for two years and I got head-hunted by Capital XTRA. Music is in my blood: I love creating new sounds; pleasing people with my music selection – plus, the adrenaline-buzz that you get from each set that you produce can make you happy for days.

My favourite albums of this year are from Lana Del Rey, Dizzee Rascal and Sampha. Which discs have been setting your world on fire in 2017?

Ok. So, I know this is a little weird - because I love my House music, Techno etc. - but the albums I am in love with at the moment would have to be Post Malone (Stoney), Jay-Z’s 4:44 - and I’m a massive fan of Joe Goddard (Electric Line).

I Interviewed him at Wildlife Festival…such a nice guy.

I am a big fan of your (recent) House Teck D.J. mix. Is it hard getting that mixes together and where did you get inspiration for them? How often are you out there seeing other D.J.s perform? How important are streaming sites when it comes to your discoveries?

Ok. So, when I got into D.J.-ing, I almost feel as though the music comes to you: when you’re mixing, the two songs should come together to create a magical ‘third song’ - with the two different beats.

The fact I have always been brought up with D’n’B, Dubstep; House and Techno, means you have to almost feel the beats of the music - rather than sing along to the lyrics of the song….

I have my go to D.J.s who always produce great tunes after tunes - then, tend to send me their new songs.

But, I always recommend compilation albums: it is good to be introduced to new D.J.s and their style of music. 

You spent, what I presume, two happy years at Hoxton Radio – where you produced and presented shows there. What did you learn from your time there and how important was that experience to you?

When I was at Hoxton Radio; it was a great training ground.

Each show was two-hours-long but the preparation time must have been four hours. I had to find all my music; I did all roles - from presenting, producing and editing my shows. It was fun but was also hard work.

It wasn’t paid so I was working full-time as a waitress - as wells other jobs – so, on top of everything, I had to sacrifice a lot of time to my radio shows.

Sport and fitness, alongside music, is obviously very important. I believe you work with/model for Puma. How did that association come about and is it easy to disconnect from D.J. work and getting into a different headspace?

I’ve always been a model for sports. I’ve done many campaigns of Adidas. Puma kind of fell into my lap (who you know). They invite me to events and try out their product: it’s super-fun.

Sport has been my life from the age of six - where I swam competitively and I represented Hertfordshire for cross-country. Exercise gets rid of my tension because, let’s face it: London can be quite suffocating sometimes.

I know I can go out for an hour’s run and, by the time I get back, whatever upset me before the run will have been forgotten.

You are very busy on social media and get a lot of love from your followers. How important are the vibes you get from your fans? What message would you give them?

Social media is key to success.

I know it's fickle to say that but you need to interact with people that like your work. if someone off the street stops you and says “I like your shoes you”;  don’t carry on walking: you say “thank you”.

How is it any different on Twitter or Instagram?!

We are all same. I don’t think I’m above anybody and I’m very friendly - so I will always say hello.

Summer is (apparently) coming up. Are you remaining in London or are you doing any performances/sets abroad?

What?! Summer is coming up?! I thought it had finished, already?!

My August is really busy at the moment. I have a couple of T.V. gigs on top of radio  - which will take up a lot of my time. Plus, a couple more festivals have been lined up - to cover with DJ Mag TV.

But, if I’m being honest, I can’t wait to be going away on holiday. I haven’t had a break since Easter. I’m heading off to Cornwall with the family…walking, surfing; fish and chips… bliss!

Who are new acts/D.J.s you recommend we check out?

Ok, So, I’ve been a massive fan of Solardo since interviewing them last December with DJ Mag TV - and this year, they have blown up (going to sooo many festivals). They also did a mash-up of DJ Will Clarke (Techno)... 

Will Clarke - also a D.J. to look out for. He has some cool different vibes to his music!

PHOTO CREDIT: Adrian Lee

If you had to select the three albums that mean most to you; which would they be and why?

Ok. So…

Camo & Krooked - Cross the Line (2011).

Turning point of my life: finishing university and making the decision to leave friends and family in Tring and move to London on my own.

Sting - Mercury Falling

This reminds me when I was a little girl. Our family used to drive to Spain and this album was played on repeat!

Rihanna - Anti

I can’t help it: I have such a girl-crush on ‘RiRi’ - and this album is incredible.

What advice would you give to artists/D.J.s coming through right now?

Practice makes perfect, and…find music that you enjoy and that inspires you. Also...watch and listen to other D.Js/people that play in clubs.

We all make mistakes sometimes - so no-one's perfect.

Finally, and for being a good sport, you can name a song and I’ll play it here (not one of yours as I’ll do that).

Highly addicted to this song…

It’s the Solardo and Will Clarke (and BOT) remix of Techno (Not Techno)…. the beat is insane.

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Follow Emma Conybeare

FEATURE: Labelled with Love: A Selection of Some of the Most Influential Record Labels in Music

FEATURE:

 

Labelled with Love: 

IN THIS PHOTO: FKA Twigs of Young Turks 

A Selection of Some of the Most Influential Labels in Music

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THIS is a rare excursion into the territory of record labels…

and a chance to recognise some of the most inspiration, important and upcoming names we should look out for. Some are well-known whereas others are smaller and working in the underground. The record label often gets overlooked in favour of the artist: one cannot underestimate the importance and significance of the label behind the talent. They, not only provide that guidance and energy - but offer knowledge and an immense amount of time.

Because of this; a rundown of the well-known and lesser-heard labels that warrant more time, acclaim and listening…

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Mad Decent

IN THIS PHOTO: Poppy

Made Decent, formed in 2006, are, according to Pigeons and Planes...  

"...If you aren't yet familiar with the record label Mad Decent, chances are that you've at least heard of its founder Thomas Wesley Pentz aka Diplo. Established in 2006, the imprint originally worked to promote Brazillian Baile Funk and Angolan Kudro. The label's mantra revolves around bringing new genres and cultures to the forefront of an ever diversifying music community".

Website: http://www.maddecent.com/

XL Recordings

IN THIS PHOTO: Smerz

Again, when looking at the 1989-formed XL Recordings; Pigeons and Planes encapsulate the merit and essence of the mega label:

“Despite releasing an average of merely six albums per year, XL Recordings has become a widely recognized and respected force in the indiedendent label space. XL has even superceded the concept of indie in some ways as they work with some of today's largest acts. Founded by Richard Russel, Tim Palmer, and Nick Halkes, the Beggars Banquet offshoot was originally launched to release rave and dance music. In the early '90s the label focused mostly on dance-oriented releases ranging from Belgian Techno and Breakbeat to Hardcore and Drum & Bass. Their willingness to work with more eccentric, experimental artists is evidenced by their longstanding relationship with The Prodigy”.

Website: http://www.xlrecordings.com/

Fat Possum Records

IN THIS PHOTO: Kadhja Bonet

It is the same site that has led me to this incredible label – that formed back in 1992:

“Founded back in the early '90s by Matthew Johnson and Peter Redvers-Lee simply as a way to preserve some of the blues players in their corner of North Mississippi, Fat Possum has consistently released music with meaningful cultural implications. Early on the label stayed fairly true to their blues roots and relied heavily on New York Times critic Robert Palmer when it came to picking acts to sign. But with the changing industry and expanding tastes, Fat Possum have branched out from their early roots and now have a large roster that includes bands like Wavves, Tennis, Youth Lagoon, and Spiritualized”.

Website: http://www.fatpossum.com/

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Paper Garden Records

IN THIS PHOTO: Color Collage

The relatively new label (formed in 2005) are looking after some tremendous acts right now. It is the penultimate name from the Pigeons and Planes guidance and, looking at their website, a label that has a huge ear for quality:

“Bryan Vaughan founded Paper Garden Records in 2005 as part of an entrepreneurial program at Belmont University in Nashville, but it wasn't until he moved to New York City and became business partners with Heidi Greenwood that the label really flowered into full fruition. Still functioning on a very DIY scale, the pair work out of their apartment, and yet manage to represent some of the best independent and underground music being created. Whether it be releasing records through their small, independent label, or helping represent bands through the Lovely Hearts Club PR blast branch of the LLC”.

Website: http://www.papergardenrecords.com/

Neon Gold

This label is responsible for some of the biggest Pop artists/songs in recent years and, as you can see from their site, are constantly supporting ripe and promising talent:

“In terms of indie pop pedigree, Neon Gold is unbeatable. Their roster is a place to go if you want to see where indie's biggest superstars got their start, and a great bet if you're planning on catching an act early on in what will become a huge career. The boutique label was first founded by Derek Davies and Lizzy Paplinger to release Passion Pit's "Sleepyhead" single. Five years later, the band is headlining Madison Square Garden. A savant-level ability to predict what music is destined to break big on the mainstream is no fluke for these guys; Ellie Goulding, Gotye, Marina & The Diamonds and Penguin Prison are all NG alums, too”.

Website: http://neon.gold/

Whities

 IN THIS PHOTO: The cover for Whities 011 by Lanark Artefax

The next four names I have sourced from FACT, who, all the time, have their finger on the pulse and know their stuff! The first label is one I am really curious about:

“London’s barely hatched Whities label colored even further outside the lines in its third year in action, bringing us, on one hand, one of the year’s biggest dancefloor 12″s in Avalon Emerson’s evocative, thundering ‘The Frontier’, and, on the other, one of the strangest pop mutations we’ve ever encountered in Reckonwrong’s Devo-meets-Morrissey bedroom-disco curio ‘The Passions of Pez’. Add to that another mind-melting spookfest from bass engineer Minor Science and Lanark Artefax’s breakbeat daydream on ‘Touch Absence’ and you’ve got the makings of a classic year for Nic Tasker’s operation”.

Website: https://www.residentadvisor.net/record-label.aspx?id=10855

Timedance

  “It’s easier than ever to start a label thanks to the power of the internet, but taking the old-fashioned approach and building something local is all too rare these days. It’s one of the reasons why Batu’s Timedance label stood out in 2016; instead of trawling SoundCloud for unsigned club producers and seeing what sticks, he’s built a community around the music of his Bristol contemporaries and formed something that feels very much like a family of like-minded artists”.

Website:  https://timedance.bandcamp.com/

Orange Milk

“Orange Milk’s experimental music carnival was in full swing this year, dropping releases that were as garishly entertaining as they were artistically challenging. The label hit us with indescribable weirdness like DJWWWW’s Arigato, Foodman’s Ez Minzoku and Death’s Dynamic Shroud’s Classroom Sexxxtape, all utter headscratchers that might turn you off if they weren’t so damn fun to listen to.

OM delivered on all fronts: Diamond Soul’s chaotic footwork, Euglossine’s psychedelic easy-listening and gorgeous plunderphonics from M Sage. Even their reissues were excellent, including Machine Girl’s endorphin overload Gemini and Goop, a reminder that Orange Milk co-founder Seth Graham is the label’s secret weapon”.

Website: http://www.orangemilkrecords.com/store/c1/Featured_Products.html

Swing Ting

IN THIS PHOTO: Murder He Wrote

“Manchester has not-so-quietly made a play for the UK’s greatest party city in the last couple of years, and Swing Ting have been right at the heart of the action. Samrai and Platt’s party-turned-label shifted into fifth gear in 2016, releasing a string of solid gold 12″s and EPs pushing their melting pot of faves – R&B, grime, jungle – into a mutant bashment direction, with spectacular results.

Fox’s Musik EP saw the Manchester-via-Kingston MC body a killer set of productions from Famous Eno, Florentino, Murlo, Brackles and the label bosses, while Florentino’s own ‘Bloodline’/’Sientelo’ perfected his recipe for quirky reggaeton confections. Samrai and Platt crowned the slinky ‘Tease Me’ with a sexed-up vocal from Kingston MC Kemikal, while Jamaican duo Equiknoxx graced the label with pa-rappa-pa-rapping ‘Bubble’, one of the greatest dancehall moments in a year stuffed full of them. Add to that Alexx A-Game’s G-funk-dembow hybrid and Famous Eno’s mile-high posse cut ‘Gangsters’, and there’s simply no competition. The Swing Ting sound was all we wanted to hear this year”.

Website: http://swingting.com/

Wichita

IN THIS PHOTO: Globelamp

The label formed in 2000 and has, since its inception, brought us the likes of Bloc Party and The Cribs. Mothers and Girlpool are currently on their books and it is clear Wichita is one of the most important and ever-evolving labels in the world.

Website: https://www.wichita-recordings.com/

4AD

IN THIS PHOTO: Purity Ring

Camera Obscura and Pixies have previously been on the 4AD label. Now, they support Bon Iver, Daughter and Lo-Fang – so many more incredible artists that take the breath away. It is one of the most varied labels and, because of that, one many look to when seeking out the best new talent...

Website: http://www.4ad.com/

Dirty Hit

IN THIS PHOTO: Wolf Alice (2015)/PHOTO CREDIT: Jo Hale/Redferns via Getty Images

They are one of the newer labels – formed in 2009 – and have seen Wolf Alice, The 1975 and Marika Hackman come through their doors. Despite the fact they are young and growing: they have a flair for those original and bold artists that differ from that is out there in the mainstream. Expect their stable to keep growing in years to come...

Website: http://dirtyhit.co.uk/

PMR

PMR signed the likes of Jessie Ware when they launched in 2011. Ware and Disclosure were on their books and soon rose to become two of the biggest stars in the U.K. Two Inch Punch and Javeon soon came to PMR and added to their healthy stock - which includes everyone from GIRLI and Dornik.

Website: http://www.pmrrecords.com/

Young Turks

IN THIS PHOTO: Chairlift

As part of an imprint for XL Recordings in 2006; Young Turks can boast names like FKA Twigs, Sampha and Waaves to their increasing and genre-busting crew. They are, like all great labels, diversifying and building their clientele. At the moment, they can proudly showcase some of the most impressive and forward-thinking acts in the world.

Website: https://theyoungturks.co.uk/

Turnstile

IN THIS PHOTO: Cate Le Bon

Cate Le Bon, Gruff Rhys and Perfume Genius show what an eclectic, fascinating and quality-striving ethos the label has. It is a fantastic outfit that continues to seek-out the very finest from music – so far, they have done a pretty good job of bringing us the very best and brightest!

Website: http://www.turnstilemusic.net/

Glassnote

Flo Morrissey Glassnote.jpg

IN THIS PHOTO: Flo Morrissey/PHOTO CREDIT: Roo Lewis

The U.S. label has helped launch the careers of Chvrches, Daughter and Mumford and Sons. Childish Gambino, Flo Morrissey and James Hersey make it one of the most eclectic and solid labels in music – one that continues to back and nurture incredible musicians.

Website: http://glassnotemusic.com/

Bella Union

BNQT.jpg

IN THIS PHOTO: BNQT

Started by former Cocteau Twins member Simon Raymonde; they brought us Fleet Foxes but, alongside them, The Trouble with Temptation and Manchester’s MONEY are on their line-up. A stellar and huge label that continues to exert influence and incredible artistry – so many years after their inception and starting-blocks!

Website: http://bellaunion.com/

Domino

Horses.jpg

IN THIS PHOTO: Anna Calvi

You don’t need me to tell you they have Arctic Monkeys and Franz Ferdinand as examples of the type of music they promise. More recently; they have Alex G (Sandy) and Georgia and Matthew E. White reoresenting them - ensuring the future for Domino Records is very bright and rosy.

Website: http://www.dominorecordco.com/

INTERVIEW: Bang Bang Romeo

INTERVIEW: 

bang1.jpg

PHOTO CREDIT: Ben Bentley

 Bang Bang Romeo

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ONE of the first things I wanted to discuss with Bang Bang Romeo…

PHOTO CREDIT: Ben Bentley

is how they came to work with Ralph Ineson in the video for Chemical – their awesome and much-lauded new track. It seems the trio have a great eye for visuals and filmic aspects. I probe them (Anastasia fields most of the questions) about the new track and the inspiration that goes into it. With festivals still ahead; I was curious to know where the guys were heading; how they all came together in the first place; what the origin of that unique name (‘Bang Bang Romeo’) is.

Bang Bang Romeo choose the albums that mean most to them; the new artists that have made an impact on their minds – and how, when they get the chance, they unwind away from music…

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Hi, guys how are you? How have your weeks been?

We're great, thanks!

Had a mental summer so far; so we've got a couple days’ breather!

I'm saying that, but we're back in the studio this week putting the finishing touches to our debut album.

For those new to your work, can you introduce yourselves, please?

We're a three-piece from Doncaster called Bang Bang Romeo: made up of Anastasia Walker, Ross Cameron and Richard Gartland.

Heyup!

PHOTO CREDIT: Ben Bentley

Can you just explain the origins of the band name – I have omitted research because I had my own idea. Is there a Shakespeare link or is that a rather simplistic deduction?!

We were in a tapas bar in Sheffield at the time, a little bit intoxicated...

We wanted the band name to encapsulate the lyrics and the vibe of our music. The 'Bang Bang' signifies the music: hard-hitting and a little dramatic!

And, yes, you got the Shakespeare link with 'Romeo' just right. Our lyrics tend to be about love, death; life and hate - so that's the connection there.

Chemical is the new song. What is the track about and how easily did it come together for you?

Ross wrote Chemical when he was seventeen-years-old!

The song is about love being the most powerful thing of all - more than just a chemical reaction. It's actually the first song we ever worked on together - so it holds a special place in all our hearts!

You filmed the video in Rossington Hall. Considering it is an epic and, at times, messy video; how much freedom did they give you to do what you needed?

Thank you!

We wrote the script, chose the actors; chose the venue and the theme, so, in terms of 'control', we really had our stamp on all of it. David Dutton (the Director) brought our dreams to life.

We'd been conjuring up ideas for the shoot for a long time - and for us to finally see on screen, what had been taking over our dreams/nightmares for so long, was a very special moment for us. David is an artist and we can't wait to work with him again. Watch this space.

Rossington Hall is local to us and was the 'go-to' place in our minds when writing the script. The staff and the team there were brilliant and we can't thank them enough for letting us use their beautiful, and very haunting, building!

Haha.

PHOTO CREDIT: Ben Bentley

Of course; one cannot help notice the presence of Ralph Ineson. How did you connect with him and what was he like in person?

Ralph has been a supporter of ours for a number of years now.

He's been attending our shows since day one and has never stopped the support. Again, when dreaming up the video, his was the only face we saw as the Evil Lord of the Manor character. We're still pinching ourselves now that he actually said 'YES!'.

Watching him work was so special. We all had goosebumps the whole time. Thank you, sir.

It seems Bang Bang Romeo has an eye for visuals and theatrics. Is video-making a side of the industry you all enjoy?

Films and visuals are so important for us.

Even in our writing process, we don't tend to think of a song, as just a song - more of a soundtrack for a film - with a proper script or storyline. We'll be in the studio and one of us will end up saying: "This song feels like Bond" - or a Tarantino picture, Spielberg: anything like that.

We like our songs to paint a picture and a landscape. I think after putting out a couple of albums we'll (maybe) get together and write a film.

Haha. We'll see.

You’ve just put an isolated vocal (of Anastasia’s) online. It is a clip, I presume, from your upcoming debut album. What can you tell us about the themes and songs that will appear? Can you reveal any titles yet?

Yes, it is a clip from a track that will feature on the debut called Unstoppable.

I think the key is to expect the unexpected. We've thrown our hearts into making this! Don't be surprised if you open the packaging and there's blood, sweat and tears on the record. Haha.

We don't hold back and this album is our best and biggest creation yet. The front cover is designed, by us; the name has been chosen - it's all there; but we're not revealing it yet, haha.

Ideas for album-two are already underway, too - purely inspired by what we've already been doing in the studio.

When the vibe is as good as it is, it's best to just keep working. If a thirty-track album was logical, we'd go with it.

Haha.

PHOTO CREDIT: Ellen Offredy

I am interested in how you all got together? Did you all arrive from different backgrounds or did you have mutual friends? What was it about one another that formed that attraction?

Myself (Stars) and Ross were both playing at a festival in Doncaster, separately, at the time when a mutual friend introduced us. We hit it off straight away!

Ross played me his catalogue of songwriting he'd built up and that was it. I was sucked in and, 'till this day, it's still an honour to sing his songs - they're like presents! He's helped me work on my songwriting too - which has been priceless for me.

We were recommended Rich. He's from Leeds and, twenty mins into our first jam, we just knew we had what we needed - "This is it".

We've been inseparable ever since.

I saw your live video from Pirate Studios. What was that experience like? Are you going to be putting more live videos online in the future?

The Pirate Studios sessions have always been wonderful for us.

We've got two under our belts now: the Sheffield session and the London one. Their live recordings really are second to none. We love playing them and we'll always be up for doing more - the team are great there and really support what we're doing.

We also use Pirate Studios as our rehearsal space, too – so, if you're in a band, go check 'em out!

Great spaces.

Doncaster Pride is an upcoming gig of yours. How pumped are you about that one? I guess Reading and Leeds is a huge one, too?

We can't wait for Doncaster Pride!

They've always been so kind to us and we'll never stop supporting them. Growing up in Doncaster, a lesbian myself, it's been wonderful to have a strong community around you that is so accessible and willing to listen. We love 'em.

Reading, of course, is another exciting one for us. We played Leeds Festival last year: so it's only right we go for Reading this year!

Looks like you are busy right through until the end of autumn. Which gigs are you most looking forward to? Is touring and live performances something you all love to do?

The October This Feeling Alive tour - with The Shimmer Band, Black Waters and The Blinders - is going to be pretty fuc*ing crazy. This Feeling are leading the way when it comes to bringing new, up-and-coming guitar music to the people – so, when Mikey Jonns gave us the nod for this tour, we were beside ourselves.

Travelling the country with a bunch of talented, handsome; up-and-coming men? Yes please. (This is 100% Stars, by the way).

PHOTO CREDIT: Ben Bentley

Do you guys get to hang outside of music? How much downtime do you get, realistically? Do you have any hobbies or perfect ways to relax?

At the moment, we're living in each other’s pockets!

We have an awesome place we stay near Birmingham when we're recording. It's kind of like a log cabin in the middle of nowhere - with a swimming pool and a pool table surrounded by bats and pheasants. Haha

So, when we're not in the van or on stage or in the studio, we're there. Down-time we spend with our family and friends - as it comes far-and-few-between. In saying that, me and Rich went to a pub quiz last night and got totally robbed. Bastards.

We all enjoy art; whether it be drawing, painting or graphics. Ross also owns a designer menswear store in Doncaster calls Revolver - so he proper fashionable and that.

Who are new acts you recommend we check out?

If you're looking for fresh, inspiring, new guitar music; you don't really have to look any further than the This Feeling catalogue.

We love Paves, The Wholls; Hello Operator, The Sundowners, The Elephant Trees - to name a tiny, tiny few.

The list goes on!

PHOTO CREDIT: Tarquin Clark 

If you each had to select the album that means most to you; which would they be and why?

For me, it's Radiohead's OK Computer. It gives me happiness and nightmares, all in one. My dad brought me up on it. It was the first album to really make me want to create music myself.

Thom Yorke is a genius.

Ross: Ok Computer is my fave too, but, because you chose that, I'll go with The White Album. It's so varied. There's classic Beatles songwriting like While My Guitar Gently Weeps and Happiness Is a Warm Gun - but then there's plenty of humour, fun and weirdness on there, too. 

Cry Baby Cry is on there too - and it's an absolute masterpiece!

Rich: Yeah, I was going to go OK Computer too, but maybe something a bit more obscure…

Big Whiskey & the GrooGrux King by Dave Matthews Band: amazing songwriting - and I was going through a tough time when it was released. It was the first time I sat and learned an album from back to front. Carter Beauford is a massive inspiration on my playing. He's ambidextrous too - I'm sure you were wondering. Haha.

Suffice to say: many hours were spent pouring over the album in a rehearsal room on my own.

What advice would you give to artists coming through right now?

Don't succumb to the pressures of modern-day music: don't try and make yourself into something you're not. The whole ‘we need to be edgy’, ‘weird’ or ‘cool’ questions may pop up from time to time - and take away the focus from what's important…but fu*k all that. Stay totally true to yourselves and work hard.

Respect each other and don't forget why you picked up your instrument. You're all on the same team!

Finally, and for being good sports, you can each name a song and I’ll play it here (not one of yours as I’ll do that).

I'll go for The Shimmer Bands’ What Is Mine (please, Mr. D.J., sir)

Ross: Baby - Paves

Rich: Brave New World - The Blinders (top new tune from our Doncaster brothers)

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Follow Bang Bang Romeo

FEATURE: “If You Had to Save One Disc from the Waves…”

FEATURE:

“If You Had to Save One Disc from the Waves…”

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IT feels like I am attending a Radio Addicts Anonymous meeting…

IN THIS PHOTO: Current Desert Island Discs host, Kirsty Young

when I pull up a stool and nervously averted people’s gazes. It is with tame acquiescence I confess this: I, group, am a Desert Island Discs obsessive. Maybe that is not such an embarrassing confession but, such is the gravity and influence the series has had on my life, I find myself repeating episodes in my head. If the moment Tom Hanks freezes after a question – when he was on the show on 8th May, 2016 – and chokes back the tears does not get to you - then you might be technically dead. Maybe it is the strangely likeable turn from Ed Sheeran or the unexpected appearance from Bruce Springsteen. I love Caitlin Moran and Sue Perkins’ incredible turns; Jimmy Carr’s unexpectedly fine musical choices – the man chose Beyoncé and Kanye West among his eight discs! – or whatever it happens to be…one cannot deny the addictiveness and compelling voices one gets from Desert Island Discs! I am, rather annoyingly, only now initiating myself to the endless pleasures of the show. The fact Desert Island Discs has reached seventy-five – and still looks fantastic in a bikini.. – means I have over seven decades of castaways to investigate! No worries because it is a task I am willing to undertake. I think, among other things, it is Kirsty Young’s incumbency that has really hooked me in.

Maybe it is her East Kilbride pronunciations – those ‘hard Hs’ are enough to make the soul sing (je suis amoureux!) – or the fact she can relax a guest to the point of seduction is entrancing – one is convinced she could get a mass murderer to confess their sins, rehabilitate and find God within the space of a conversation. It is a Sunday fixture I ensure I am committed to. The reason for penning this piece – aside from indulging my own radio habits – is to raise a genuinely interesting question! By the way: if you have not listened to Desert Island Discs, I urge you to get your earlobes around it. Anyway; let's return to my point, shall we? Every week, Young guides her guests through a series of question-and-music intervals where she would ask them about an aspect of their life – before they/she introduces a song of their choosing. Each castaway – so-called for obvious reasons – gets to select eight discs (one imagines classic 33/45 R.P.M. formats) that they are allowed to take to the island – where it is, nobody knows; each guest goes to a different one. They are, in addition, allowed a book (they get a copy of the Bible and The Complete Works of Shakespeare) but get to select a luxury, too. I recently posted a similar piece casting myself, in ludicrous long-shot probability, in the mantle of a castaway on the show. My luxury was/would have been a photo of my family but, thinking I could well picture them – rendering a single shot rather meaningless – I changed my answer to a water purification kit and penicillin.

It seems rather un-luxurious but, if one is stranded on an unknown island, the chances are there is going to be an extinction of clean water – thus, they would painfully perish within days were they not equipped to purify the abundance of salt water around them. It would sustain my long enough in order to acclimatise to the unique and hospitable ecosystem. I would forage for food – being a pescatarian means it would be fish-rich – and, one assumes, be susceptible to infections, illness and various-assorted maladies. If I were allowed a ‘bundle’ option of the two: that would seem like the best luxury ever – the chance to extend my life is, in all honesty, far more material and pragmatic than a trampoline or a tin of deodorant (neither, to the best of my knowledge, have been selected as luxuries). I digress but, working up to my eventual point, I would select a music-related book – possibly a thorough biography of The Beatles (with photos and interviews) – that would keep me company and suffice my voracious appetite for all things sonic. Every time I immerse myself in an episode of Desert Island Discs; I follow, with great interest, the musical choices of each castaway. There is a fascinating psychology hearing one’s musical predilections and the reasons attached to each.

IN THIS PHOTO: Tom Hanks and Kirsty Young

As Tom Hanks explained when he was on the show: each track should represent a special moment or connect you to a meaningful time in your life. That is what the finest music does to me so, tasked with the option of salvaging only one record from the cruelty of the waves, chills my balls to the core. Why one would have eight discs and no turntable – an old-school Walkman, perchance? – is beyond me but one dare not quibble with the ecumenical and divine purity of Desert Island Discs. I would evoke such glee and fulfilment from curating an octet of songs: the reality of reducing that impressive eight-piece to a single survivor is heartbreaking. One might as well ask me to decide which of my vital organs I want to donate to a local cannibal. That is, you’ll forgive, post hoc ergo propter hoc, but it contextualises a similar egregiousness (I would get rid of my heart because I feel I could deliver a James Bond-worthy quip before I saw it stop beating). The fact I am a journalist means, constricting a library-full of musical desires into a briefcase-sized carry-on of eight, is a tricky predicament.

I think Caitlin Moran – a proper journalist (unlike myself) – felt, with mock-horror, the same kind of stress when faced with that conundrum. I would have to choose, for sure, one track from The Beatles, Kate Bush and Jeff Buckley: my Holy Trinity of musical idols. I would, gun to head, select Kate Bush’s Strange Phenomena; Jeff Buckley’s rendition of The Way Young Lovers Do (from his Live at Sin-é album); I would then....oooh…say, Got to Get You Into My Life from The Beatles. That penultimate cut from Revolver would not only be a perfect way to kick-start a day on an island – it is a fantastic song that is able to elicit joy and redemption in harshest of circumstances. Four and five would have to be The White Stripes’ Truth Doesn’t Make a Noise (from their sophomore album, De Stijl) and, um, Tears for Fears’ Everybody Wants to Rule the World. The latter, because it is, literally my first memory of life – and, therefore, my first experience of music. The former is from one of my favourite acts and a song that would evoke fond memories - and a better time. I would need another female voice so I would have to Björk. In regards her music, I would pick Big Time Sensuality (from Debut). My last two choices would be a little unexpected...

Well...T. Rex were a huge influence during my childhood so I would have to go with Metal Guru (as it is one of their earliest songs I remember) and, believe it or not, Benny Goodman’s Sing, Sing, Sing (With a Swing). That song is full of life and energy so, it would be a good contrast to the more downbeat and contemplative records. It would be incongruence to spend too little time limiting your musical existence to eight discs - but I reserve the right to interchange and alter my selections at any point. I am pretty certain about The Beatles, Kate Bush and Jeff Buckley – Tears for Fears would need to be in the rundown. At the very end of each edition (of Desert Island Discs), Kirsty Young always poses that question: “If you had to save one disc from the waves…which would it be?” She delivers it with such chocolate-rich warmth, but it is like a stab to the heart. Forget what would happen if I ever had to answer that question on the show: if I were actually on a desert island and faced with that reality…I don’t think I would be in a position to make a quick decision. This feature is less about promoting Desert Island Discs – it does not need me to do that – but get people to think about why a song is so special and why a particular track would defeat all others.

Are music and unequivocal certainty likely bedfellows? Can one limit their passion to a single record and how easy is it to narrow your entire music knowledge to that solo choice?! Does one, if battling the water, select that disc based on its emotional connection or a particular relevance. For me, when going for that one record; I would have to go for the one that manages to connect my downs and highs in life: my whole education of music and all the emotions that interweave and socialise with those disparate things. That seems like an impossible expectation but, when you are provoked, the mind and soul can make that decision. Each person will have their own reasons for selecting a single record but, for me, it would have to have that importance and relevance. I could not make the decision idly but, pressed with very little time, I would instinctively lunge for that record that would, essentially, be my only company on the island.

Forbidden from bringing anything sentient with me: that one record would be the only other voice I would ever hear. Many castaways, when prompted, chose a female voice for their choice – a warmth and maternal spirit seems more nourishing and welcoming than a male voice – whilst others attached romantic significance to their choice. For me, being a blank canvas when it comes to grand relationships. My criteria is based on my childhood, growth and realisations. None of my eight selections is, I think, younger than fifteen-years-old. Actually, since typing this, I have had to substitute one record (not sure which) with a Talking Heads song, I Zimbra (from Fear of Music) - or maybe I should just leave it be. I don’t think I could survive without the band so, you see what I mean?! Rationalising eight records above everything else in music is difficult: how does one choose a sole survivor?! One of the great things about Desert Island Discs is how each guest explains their attachment to a particular track. Understanding the importance and story behind each is fascinating to witness. Every definition is unique and shows how broad, meaningful and universal music is. I take music for granted in this day and age. Given the access one has to nearly every track every recorded – how willing would we be to sacrifice luxury and the expansive of musical exploration? One can, at the click of a mouse, access a playlist of of-the-moment songs or Jazz classics. We can hear anything we want and, of a day, be privy to an incredible array of genres, sound and suggestions.

I shall wrap this up – as the darkness is coming in and I feel like I need to hunker-down on the island – so, before the waves come in (and I, for some reason, would not patrol my records like a rabid German police dog), I will have to clear my thoughts and allow rationale and logic dictate my near-impossible choice. I wanted people to think about their musical education and passions; why they bond to certain songs and what, for them, defines a perfect song. Whether the anthem for a celebratory moment or the song you heard whilst falling for your lover – there are so many scenarios and configurations that mean a certain song takes prominence above all else. It is really intriguing to find out each person’s story – and why they are attached so fondly to that song. Given the negative peripeteia that is about to befall me: I must run to the bank and, before the water envelopes and digests all my cherished records, I shall desperately grope for that cherished and chosen chattel. It would be interesting to hear everyone’s thoughts and feelings when faced with a similar predicament – and whether they have different reasons why they bond to certain records – and what they would do at that frightening moment. For me, I would flash each song through my mind, and, considering factors of importance, childhood imprints and personal attachment; I would have to save…

IN THIS PHOTO: Sue Perkins

THE song below…