INTERVIEW: L.A.D

INTERVIEW:

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 L.A.D

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MANY are claiming there is a revival of 1980s music happening right now.

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This is an assertion backed by the Reading-based trio, L.A.D. The lyric-video for Dance Floor has just been unveiled so I ask Natalie, Jack and Luke about the song and how it came together. They talk about their formation and where their loves of the 1980s’ sounds and sensations stem from. I ask about their influences and what the chemistry is like in the group.

The trio discusses future material and what the music scene is like in Reading; the new artists they recommend we get involved with – and how Natalie, a solo artist before she helped form the trio, has transitioned from lone performance to life with L.A.D.

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

Hey! Been great, thanks!

Very productive over at L.A.D. We had a writing session at the start of the week; then, a photoshoot on Thursday! 

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

We are L.A.D. - and that's Natalie, Jack and Luke. We are a band making 1980s-inspired music and are about to take over the world...standard. 

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Tell me about the band-name, ‘L.A.D.’ and the meaning behind that. Do the words ‘Live After Dark’ hold special significance?!

L.A.D can mean whatever you want it to…

It has a meaning to each of us, individually, but we are kinda leaving it up to interpretation. It could mean ‘Luke And Dinosaurs’; ‘Lobsters Are Downstairs’...

...whatever you want!  

How did you all get together? Have you known each other for a while or is L.A.D. a pretty spontaneous creation?

We've known each other a long time just from being from Reading and going to house parties (and messy nights at the Purple Turtle!). We've written together for the past eighteen months just to stay creative - and L.A.D just developed naturally! 

Dance Floor is the new single. Can you tell me about its origins and how it felt hearing it back from the first time?

Well...doesn't everyone just love those timeless tunes from the 1980s that just makes you get up and dance; to not care what people think and what you look like?! So, when writing Dance Floor; we tried to capture that!

Then, we fired up the drum machine; put synths on turbo - and threw the ginge in the booth to make silly noises until it created a song!

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An album will follow. What themes and ideas are explored on the record?

Lots of upbeat tunes to get you dancing but, also, some drowning-in-synths sci. fi. moments. Our own version of the 1980s power-ballad is absolutely on the cards!

Your music celebrates the best of the 1980s and the glory of dance! Is it a decade you are all fond of - and what is it about the 1980s that attracts you all?

We were all bought up on 1980s music and it's a decade that has heavily influenced all of us in style, music and fashion! It was just a time where music really pushed boundaries: a decade full of colour and fun - and a lot of leg warmers and big hair! 

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It is rare finding artists who marry the 1980s and modern sounds. Do you feel modern music lacks invention and colour?

There's actually a revival of 1980s sounds and music going on which we are very much enjoying!

But, also, there's never been a more diverse time in music than right now! Although we love our genre and are ready to bounce in the gap in the industry; we also have a lot of respect for many artists out there!

End of the day: if you're creating music and embracing your talent, we are fans

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Natalie. I have known you (and your music) for a long time. How does it feel transitioning from a solo artist to a trio? What are the main differences?

To be honest, the main difference is the amount of sarcasm and rude jokes I hear on a daily basis! Joking aside; after writing with these guys for over eighteen months and, after releasing Live in Love, it just felt like a natural transition. We all have a really good giggle during sessions/gigs and I love working with them both.

It's also great to have two other people's opinions and be able to bounce ideas off each other! 

What is an area like Reading like for a new act? Do you rely a lot on London and its venues – or is there an active local scene?

Reading is a great place for acts starting up.

We have a lot of local music venues/events that really support local bands. We also have a strong BBC introducing presence – and, of course...the amazing Reading Festival

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IN THIS PHOTO: Tiny Giant

Which new artists do you recommend we check out?

Well…apart from L.A.D?!

Tiny Giant; NINA and The Romances are great new artists!

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IN THIS PHOTO: NINA

What tour dates do you have coming up? Where can we see you play?

Well. Currently, we're focused on working on the album; perfecting things and (just) making music.

There are a lot of announcements coming soon in regards to gigs...

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

Jack: Whatcha Gonna Do for MeChaka Khan

Amazing combination of musicianship and, at the time, revolutionary synth. work and production. 

Natalie: That's so hard! Either Immaculate by Madonna or Whitney Houston (by Whitney Houston)

Both these albums were massive influences on me growing up - as a singer as well as becoming an artist. I could, literally, listen to both of these albums on-repeat all-day, every day! Both are strong artists who were never afraid to be themselves. 

LukeJustice - Cross

The first fully-Electronic album I ever loved. It really was a game-changer in regards to musical direction! 

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

It sounds cheesy but (just) make the music you love. Be true to yourselves as artists and, as long as the music is making you happy, then keep doing it!

Never take ‘no’ for an answer! 

Christmas is approaching. Do you all have plans already or will you be busy working?

Working on the ultimate Christmas 1980s classic....obviously. Haha

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).

Object of My Desire Starpoint

How Will I Know - Whitney Houston 

Peter Gabriel - Big Time (it's a banger)

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INTERVIEW: Jasper Wilde

INTERVIEW:

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 Jasper Wilde

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IT is interesting learning more about Jasper Wilde

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PHOTO CREDITAriel Majtas

and how he arrived in London. The Cannes-born musician discusses his charity work with Key Changes and his involvement with Salute – how they are impacting him and providing nourishment. I ask him about his upbringing and the artists that have inspired him; whether he is working on anything new – and why he is flying to Miami in November.

Wilde reveals his route into music and whether he fancies time in the U.S.; how his week has been – and those crucial records that have settled deep in his heart.

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

I’m very good.

My week has been full-on with photoshoots, planning and producing music over at the charity, Key Changes - a music recovery service working for people with mental health problems.

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

My name is Jasper. I’m a twenty-four-year-old Frenchman from Cannes. I’m a multi-instrumentalist, artist-producer…

I’d say that my main instrument is guitar - but I realise that bass and keys are the ones I use a lot right now.

I also play talk box.

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What are you working on at the moment? Can we expect any new material before the end of the year?

I’ve just finished a song with a spoken-word/rapper from Brixton that I met through the charity work that I do.

It’s coming out in November - so lots more photos to be taken.

Talk to me about Salute and your involvement with that?

I heard about the competition from a friend.

The prize-money is incredible and as it’s so hard, money-wise, in the early stages of being a musician; it could make a huge difference to my life - it’s great to see a company doing so much work and promotion of new artists like this.

I think the website and app. are really cool and the standard is really high…I just hope I can win!

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You’re based in London but come from Cannes. Why did you move from France and what are the differences in terms of the music and people?

Yes, I am. I did a year in Medicine at the Université Nice Sophia Antipolis but realised music was the only thing that mattered to me. So, I moved to London to improve my English and dedicate 100% of my life and time to music.

French music is great but it is in French - I love my country and my roots but feel that English sounds better sang (than French). I also want the whole world to connect with me as an artist - which makes it a lot easier singing in English.

In France, there’s not a lot of space for international artists (or French artists singing in English), unless you’re Beyoncé. So, when you’re starting up, it’s not the easiest process and everyone wants you to sing in French (as we know French radio plays, mostly, French artists).

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As an artist; you play all the instruments and produce. When did you first pick an instrument up and do you prefer having musical autonomy?

I couldn’t, obviously, remember as I was two-and-a-half-years-old - but there’s footage of me with my grandpa playing nursery rhymes on the piano. I, then, saw my uncle playing electric guitar for my birthday - when I was ten - and was blown away; so I really got into it then. I started copying him on an old crusty upside-down guitar - as I’m left-handed - and, shortly after that, my parents bought an electric guitar.

I think learning as much as you can is really important – it doesn’t mean you have to do everything. But, knowing what you can and cannot do is key to me.

I did prefer having musical autonomy but, now that I practised so much and know what I can do, I feel confident and comfortable having someone else involved in the process

I believe Jimmy Douglas has invited you over to Miami. How did it feel getting the news and what will you two be doing?!

I was just over-excited!

Speaking to him on the phone was just weird and so cool at the same time. He’s so chilled as well. We, first, are going to meet, for real, in November, in Miami; then, do some writing and see where the music takes us. Just being in a room with him will teach me so much: it’s a process that you can’t predict, though - but there’s definitely something bubbling...

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Have you been to the U.S.? Is that a market you want to get into?

Yes, I have. I went to L.A. for three months last year...well, who wouldn’t want to get successful in the U.S.?!

That’s also where the music I love is coming from…

I want to know more about the charity, Key Changes. How did you come to work for them and why is it so important being involved with them?

Key Changes is a charity that provides one-on-one professional studio sessions for people who are mentally ill (from hospitals and prisons). I got introduced to it by the person I work with every day as she is one of the trustees.

It completely changed my life. It is important to me as it’s another way of learning - you have to be fast, creative and make them feel comfortable by doing what they want; not what I want. It’s nice to not think about yourself every now and then, as we know, doing what we do as artists can be lonely and very stressful. It opened up my mind.

At some point, I felt like a horse with blinkers - which you have to be, I think, when learning your craft; like a geek in a way. Now - since I’m doing this charity work - I see in 3-D…and more opportunities come along.

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It’s so great, as well, seeing those who have had a pretty rough journey open up and express themselves - and their experiences with their lyrics and music is an incredibly healing gift.

In terms of the music you were brought up on; which artists stick in your mind from the early years?

Michael Jackson, Prince (and) Kool & The Gang at every house-party my parents were putting on.

It was almost the rule! Haha.

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IN THIS PHOTO: Charlie Puth

Which new artists do you recommend we check out?

One of my favourite new artists is Charlie Puth. I completely connect with him as he produces, writes and play on most of his songs.

I feel like our parents played us the same music.

What tour dates do you have coming up? Where can we all catch you play?

Not at the moment - been busy writing new material.

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

Michael Jackson Thriller

I, basically, learned most about my own producing from this album. I watched so many videos and interviews about the whole process - It’s just incredible. Quincy Jones, Rod Temperton and Michael Jackson had such a big impact on my production and way of writing music. I actually met Rod Temperton, once, at the Jazz Café and we had a chat.

It was weird talking about ‘Michael’, as he would say, and talked about a couple of the songs that weren’t released and why. Too weird. Haha

Justin Timberlake Justify

It’s the perfect follow-up from Thriller, for me, to learn production (which is why meeting Jimmy Douglas and working with him soon is so exciting). Every second of this album is amazing: I've probably listened to it 10,000,000,000 times. It doesn’t even sound dated - and it’s sixteen-years-old.

I just love it.

AC/DC - Back in Black

I started to learn guitar from this album. Angus Young was my hero at the time. It’s Hard-Rock - but they still add a bit of groove to it.

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

Determination, self-belief; resilience: you get eaten up, otherwise. Also; find out who you are: authentic artists are the ones the public like the most...

So; BE YOU!

Christmas is approaching. Do you all have plans already or will you be busy working?

I will be working until Christmas week, where I’ll go back home down in the South of France for a bit, celebrating with the family.

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).

Hmmm

It’s hard...but I’d say Don’t Stop 'Til You Get Enough by Michael Jackson  

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INTERVIEW: Skye Wallace

INTERVIEW:

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PHOTO CREDITJames Burrows

 Skye Wallace

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A lot of my time is being spent documenting and…

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ART CREDITGreg Maxwell

featuring great Canadian artists. I am not sure why I am popular there – never good questioning or speculating – but I am very glad Skye Wallace has come to my attention. She talks about her awesome new single, Scarlet Fever, and what comes next; the advice she would offer new artists - and whether we can see her in the U.K.

I ask Wallace about her musical background the artists she followed; when music came into her life – and the three albums that mean the most to her.

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

Pretty good! 

We're on the road right now - playing in Montreal tonight!

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

My name is Skye Wallace; I'm a Toronto-based artist who does a Folk-Rock-tinged-with-Punk style of music.

Scarlet Fever is the new single. Is there a story behind it? Tell me more about the song…

The song is (about) a love story set in the Yukon.

After a winter apart; Scarlet is arriving in the Dawson City harbour by boat and her lover awaits on land - petrified with uncertainty over the state of their devotion. It's based on a true story - I tried to evoke the messy turmoil of love and lust with the energy of the song.

The song is quite energised and high-octane. Was it an easy song to get down on tape or did it go through various stages?!

Well, this particular version happened very organically.

I had great players, a great space and a relatively clear idea with room to play. However, this isn't the first version. We first recorded Scarlet Fever as quite a different song that was released as a bonus track on my 2014 release, Living Parts. Check it out, if you're so inclined! 

I always love hearing the processes of creative projects.

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PHOTO CREDIT: Nelson Mouëllic

Is there going to be any more music coming this year? What else do you have planned for 2017?

I'll be releasing another single in early 2018 along with a full album later in 2018 - which I'm really excited about.

The remainder of 2017 is finishing up this tour then touring the East Coast of Canada for November; then seeing some West Coast action in December.

Then, it's down to more recording!

Do you remember when music came into your life? Can you remember the first song you heard?

I was pretty obsessed with Randy Travis when I was three or four. I carried around the tape everywhere: I went and knew all the words (phonetically at least). Everyone in my household had a great love of music, especially, my mom's side of the family - being from Newfoundland.

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PHOTO CREDIT: Steven

Who are the musicians you followed and were captivated by as a youngster?

I was obsessed with a bunch of different artists but the standouts I can think of now are Neil Young, The Weakerthans; Against Me, Patti Smith; Brand New and Tom Waits.

Looking back on the year (so far); what has been your fondest memory so far?

The tour I did of Italy and Germany (in May) was full of good times and crazy moments; beautiful sights and dope shows. The only bad thing that happened was an old Italian man likened my super-pasty legs to mozzarella. 

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PHOTO CREDITJenny Ramone

Which new artists do you recommend we check out?

I'm on a huge Big Thief kick at the moment. Definitely, check them out.

What tour dates do you have coming up? Where can we catch you play?

We're in Montreal tonight at The BOG then Toronto, tomorrow, at The Cameron House back-room. We'll be announcing the East Coast tour dates early next week - so keep tabs on the socials! 

I'll be posting soon! 

Do you have any plans coming to the U.K.? Have you performed over here at all?

I haven't yet but, with the new album coming out, I'm working on coming over at least once….it's always been a dream. 

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PHOTO CREDIT: Nelson Mouëllic

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

Brand New - Deja Entendu

Brand New really changed me when I was in high-school. This one is everything I want out of an album...

The Weakerthans - Left and Leaving

The Weakerthans are my all-time favourite band and this record was the first I heard. I remember being extremely affected, emotionally and creatively, when I discovered this.

Tom Waits - Rain Dogs

My mom sat my brother and I down in the car one day and told us we had to listen to Rain Dogs. It started with Singapore, and we were like: "Mom, what the heck is this? He sounds like Satan." She told us we'd learn to love it - and we did.

It was a huge inspiration for me when I first started experimenting with writing my own music.

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

Just keep going.

Sometimes, it seems like you're just treading water and not making any headway. Stick to your own thing you're doing - there's no point in trying to fit the confines of what already exists. In order to do make your thing happen, it often takes time…a lot of time.

You just need to keep going and keep believing in your art.

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PHOTO CREDIT: Nelson Mouëllic

Christmas is not too far away. Do you all have plans already - or will you be busy working?

I'll be hanging out in Vancouver; playing shows in the area - but also doing some chilling with family and friends!

Are there chances for you to detach from music? Do you have any hobbies outside of music?

I have plans to get back into curling this winter.

I curled for eight or nine years and love that sport. I grew up behind a curling club because my grandfather ran the club and made the ice - so it's near and dear to my heart.

Stoked to get back into it.

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FEATURE: London Grammar: Capital Letters and Punctuation

FEATURE:

 

London Grammar:

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 Capital Letters and Punctuation

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YESTERDAY, I wrote a feature about King Gizzard & The Lizard Wizard…

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for a couple of reasons. The first (reason) is because they are an Australian band who deserve a much larger following – they are still under-the-radar here and seen as a quirky option. More than that; I wanted to examine the way the seven-piece band reinvent themselves on each album. Whether they are coming up with time-related concepts and acoustic patterns; microtuning and infinite loops – an album where the final track led straight to the opening one (thus, creating a never-ending record!). I hope more people do tune into King Gizzard & The Wizard Lizard’s wavelength and discover what they are all about. The second piece is concerned with London Grammar. They are a trio I have been following since their debut and noticed a change in them. I will look at both of the Nottingham-formed band’s albums and what impact they have made on music. I want to feature Hannah Reid’s voice which is a thing of rare beauty. The main reason for writing this piece is to highlight a group who were put in the spotlight from the off; the relentless touring meant the trio almost split; the critics were expecting a quick follow-up album – putting a strain on the ranks. Hannah Reid, the lead and alluring siren, is at the centre and the focal point of London Grammar.

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For anyone who was unsure whether successful and ambitious artists felt strain the pressure of music – they could do well to the listen to the words of Hannah Reid. I will source a couple of interviews she has recently conducted that show what a transformation London Grammar underwent between albums. Back in August; Reid spoke with the Sydney Morning Herald about the band’s crisis-point. She spoke about touring Australia and Japan and the moment she decided things were getting too tough:

"We were going to Australia and Japan, and the trip was we had two days at home and we were meant to fly to Japan, go and do a show, turn around and get straight back on a plane and fly to Australia," she says. "And I was so exhausted by then, I didn't even turn up at the airport. I was like, 'I just can't. I can't. I actually cannot get out of bed.' "

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The interview looked at the critical success of their first album, If You Wait, and how big the trio got. Asking Reid how they coped with that – and whether it was expected – she provided her opinions:

"You can't ever anticipate what's going to happen, but we were just so young at the time," Reid says. "I think it happens a lot: you're kids when you start out and you make something really special. It was amazing, but we did need a bit of time at home afterwards, for sure”.

That period (following the debut album) saw continuous touring and strain. It would be hard for established and experienced acts to cope with that demand but for London Grammar – new kids off the block – it was a real eye-opening experience:

"It took us about 18 months and it was really hard," Reid admits. "There was a lot of pressure – I think naturally there always is, for a lot of artists that have successful first albums and want to make a second. But it's probably another learning curve; by the end of it we realised, 'You know what? You can't think about it or you're not going to do your best work.' And I think that's another lesson to take forward!" she laughs.

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"I think I both grew as a writer and also shrunk away. I think there are some amazing songs on the second album that I really love, but I view this second album as the stepping stone to our third one. We wanted to find a new sound and there is a new sound in it, but it has the potential to be really, really amazing but it's not quite there yet. That's how I view it."

The debut album was released in 2013 and, until this point, the trio had been airing the material and preparing the bones of their second album, Truth Is a Beautiful Thing. Not only can the physical demands put a strain on the personal relationships of the band but something more precious was compromised: Hannah Reid’s voice.

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That might sound glib but Reid’s singing voice was there before she met Dot Major and Dan Rothman: it will be there after the trio, years down the line, go their separate ways. It is the beating heart of the music and leads everything. It is obvious so many gigs would compromise the structure and safety of the voice. For Reid, who was already suffering anxiety and fatigue, that physical weakness would add pressure to an overworked voice. London Grammar are a perfect example of a popular group pushed to the point of breaking, Reid, in the same interview, explained how the level of expectation meant she carried on singing without a thought – not wanting to disappoint the fans:

"I had really bad muscular problems – surviving through that was difficult, because I was really worried about the damage I was doing," she says. "And you don't want to let down fans and to have people who want to listen to your music and have bought tickets – you want to do it and you want to do it to the best of your ability. And that's the mistake we made ... You know Sam Smith, he haemorrhaged a vocal cord; it's happened to a lot of singers.

"It's difficult to be a good singer and also be on the road."

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A few interviews surfaced around the time of the second album’s announcement/promotion. The trio were discussing how they had changed since the debut and the reason they had taken such a long time to complete their second album. Speaking with The Guardian; the guys talked about the strains and adventures when London Grammar were on the road:

It was a whirlwind. You’re just holding on for dear life, really,” says Rothman, a chatty, trainer-addicted north Londoner, before recalling the time their tour bus broke down during a 12-hour journey from Toronto to New York to appear on the David Letterman show. A local taxi driver got them to the studio with seconds to spare: “She was like the Wolf in Pulp Fiction – she knew exactly when the traffic lights would change,” he laughs.

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Hannah Reid talked about her stage fright and how the fatigue really got to her:

The exhaustion really kicked in for me after a year,” says Reid, a friendly but unshowy frontwoman. Her battle with stage fright has been widely reported, but the effects of success were physical as well as mental. “I spent the second year pretty much just hanging by a thread – I didn’t really know what was wrong with me. Then I just got used to feeling that way and I was like: ‘I must have some kind of illness, I must have chronic fatigue syndrome.’ I got tested for a whole bunch of stuff, it got kind of weird. My liver wasn’t working properly even though I was completely teetotal.”

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The idea of control and creative expression was discussed. The group looked at how much of a say they had when it came to touring; days off and the limits they go to in order to satisfy the fans:

The thing about touring is that young artists don’t always have much say or control,” Reid says. “You’re quite naive. You say: ‘Yeah, I want to do everything.’ And you want to please everyone. You’re so grateful, but you get sick at some point because everyone does. You have to cancel stuff, and then that has to get rescheduled. It can very quickly go from being manageable to snowballing into the kind of schedule that can end up wrecking your voice. The worst thing about it is disappointing the fans,” she pauses. “We’re going to do things differently this time.”

It is understandable there was a great weight of expectation and love following London Grammar’s debut album. If You Wait sat in a music world, in 2013, when there was a need for dreamy Pop and soulful blends. Many noted, when the album arrived, the comparisons to The xx and Florence and The Machine. After the band signed with Ministry of Sounds and Big Life Management; the album’s first sessions began in 2012 with Cam Blackwood. Tim Bran and Roy Kerr replaced Blackwood and the trio, assessing the switch, felt it was a natural and ‘right’ unity.

Many sources saw If I Wait as a quarter-life-crisis album because Reid, in her early-twenties, was looking at failed relationships and assessing her lot. The idea of self-assessment and introspection is not a new thing: the power and extraordinary beauty in Reid’s voice elevated the songs into near-operatic and mesmeric things. It was interesting reading the composition/lyrics breakdown on the album. Reid wrote the lyrics for most of the songs: the trio collaborated on the music for most of the tracks (Reid tackled a few on her own; Rothman co-wrote the lyrics for Flickers; the trio brought in one or two others for some tracks). Crepuscular, after-the-bar-closes mystique and moodiness crackles with tense beats and haunting electronics.

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Rothman and Major bring atmosphere and incredible scores: Reid provides husky, otherworldly vocals. It is hard to describe the potential, soul and limits of Reid’s voice. It seems mystical and goddess-like; it rises and swoons. It must have taken years to hone but on London Grammar’s debut, it was laid out on songs that talked of wasting youth and unsure love. Even when talking of love; London Grammar managed to bring to elevate it into something divine and spiritual. The album entered the U.K charts at number-two and made them an instant success. It was invariable touring and demands would follow a blockbuster of an album. Whether you see Reid’s voice as the star – or the combinations of all three – one could not deny the chemistry and friendship of the trio. That was almost broken (it was certainly tested) given the popularity following If You Wait.

Many, myself included, asked where London Grammar had gone after their debut. It took four years before they announced a new record. That is a hell of a long time for an act to follow up on a debut. Many could have gone elsewhere but it was what was happening behind the scenes that affected the timing scheduled. They were thinking of new material but were so busy touring their introductory album. Rooting for You was the first single from Truth Is a Beautiful Thing. Released in January; it charted but was not a big success. Big Picture followed a month later and was a minor success. Subsequent singles were unveiled but none reached a high position in the charts. London Grammar’s second album features ten producers in total and there are quite a few bodies in the mix.

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Happily, the trio takes to writing the material themselves (aside from the odd co-write) and step away from the Pop of their debut and bring in new elements. Compare reviews of both albums from a common source, AllMusic:

Once again, vocalist Hannah Reid takes center stage with her powerful, angelic instrument, which can stir the soul at the smokiest depths before jolting everything to the heavens in a fashion much like Florence Welch or Annie LennoxDan Rothman and Dominic Major provide lush accompaniment to Reid's voice, creating a gorgeous cinematic landscape that ranges from dreamlike wisps to fully enveloping grandeur. The first half of the album takes time to pick up, as Reid slowly eases listeners into "Wild Eyed," an expansive moment that recalls 2013's "Hey Now." The thumping heartbeat of "Oh Woman, Oh Man" gives the band equal time to shine. Other highlights include the throbbing "Non Believer," the uplifting Florence-esque "Bones of Ribbon," and the sweeping "Leave the War with Me." These tracks provide a much-needed jolt of energy to balance the album's other quieter moments, which tend to lull the listener into a dreamlike haze. While it's an overall relaxing experience, Truth Is a Beautiful Thing is never boring; it's a comforting and often heartbreaking listen that really gets under the skin, especially with Reid's emotive delivery”.

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PHOTO CREDIT: Mads Perch

That was the assessment of Truth Is a Beautiful Thing by Neil Z. Yeung. Look at Scott Kerr’s review of If You Wait - and some similarities come in:

With obvious nods to the unfussy, reverbed guitar motifs of the xx, alongside Hannah Reid's beautiful, emotive vocal ability -- which rises and falls with an alarmingly disarming effect -- the album is a practice in refrain, where each song is pushed to the brink of an inevitable climax and achingly, no further. The percussive production, synths, and basslines provided by multi-instrumentalist Dot Major, build on this sense of drama and urgency and are displayed perfectly in one of the highlights of the record, "Wasting My Young Years."

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Its throbbing chorus is chastened by the slow-burning synths and guitars that come together with stunning results when coupled with Reid's vocal delivery. The obvious confidence Reid has in her own voice belies the apparent vulnerability in the words she sings throughout, and the piano ballad "Strong" is testament to the loneliness and heartbreak that encapsulates the brooding feel of the album, which conflicts with the almost upbeat, danceable moments scattered amongst "Flickers" and "Stay Awake." They pay homage to their electronic influences mid-album with a rework of Kavinsky's "Nightcall" that unfolds gently into one of the most boisterous cuts on the record. It's no surprise that Reid's strong vocals are at the forefront of London Grammar's sound, and her voice dominates their music in much the same way as Florence Welch's does in Florence + the Machine”.

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Consequence of Sound, when Zander Porter reviewed If You Wait, had this to say:

Although The xx parallels are undeniably forthcoming, London Grammar’s innovative combinations of vocal and instrumentation are a unique, necessary progression. Though maturity may not be on the trio’s side, If You Wait argues that staying tuned is vital and that patience is a virtue, and one that seemingly will pay off for Reid and those anticipating what comes next from London Grammar”.

It was the sense of déjà vu and familiarity that crept into reviews of Truth Is a Beautiful Thing. Andy Gill, writing for the Independent, highlighted some concerns:

Though by no means worthless, Truth Is A Beautiful Thing offers such negligible advances over London Grammar’s debut If You Wait that it’s hard to imagine what they’ve spent the intervening four years doing, besides shovelling cash into bulging accounts...

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...They’re effectively the Sade of their day, mining a tightly-circumscribed format built around a distinctive, elegant vocal centre, to repeatedly similar effect. Despite the clarity of her contralto and the folksy elisions evoking echoes of Sandy Denny, Hannah Reid seems forever emotionally distant, even when keening and whooping through “Wild Eyed”; and the spartan arrangements created by her bandmates only occasionally develop persuasive emotional momentum, as on the string-laced anthem “Hell To The Liars”. Likewise, the lyrical themes of romantic regret and existential uncertainty – epitomised in the line “I’m scared of loneliness when I’m alone with you” – merely reprise the concerns of If You Wait. It’s pleasant enough, though listeners may experience a twinge or two of déjà vu”.

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Personally, I prefer the debut but find much to enjoy in the trio’s second album. I feel they have many albums ahead of them and will continue to evolve and grow as their careers continue. Maybe there has been too much pressure on them: following their debut; they were set on the road and were keen to please demands and do as much as they could. Whilst their second album is exciting; it does not quite have the same magic and potency of their debut. Reid’s voice is as majestic as ever but it deserves a wider range of material and room to manoeuvre. Maybe there is a commercial demand to have the trio repeat the debut and not stray too far from the path. I feel London Grammar will produce a career-best third album but I wanted to highlight them as an act that suffered from the brightness of the spotlight and the demands from the label.  

I will finish shortly but wanted to bring in an interview the group conducted with NME back in March. They were asked about touring and how the sounds differ on their latest album:

Turning to the ‘sound’ of the new album, Dan says fans can expect it to be ‘less moody than the first record’. “It’s maybe less ‘samey’,” he admits. “We’ve tried to provide more variety.”

“We’ve expanded on the filmic, cinematic aspect,” says Dot. “That’s maybe something that’s consistent throughout the new album, but in terms of what’s going on in different songs it definitely varies a bit more.

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 “The live experience should always feel slightly different to an album in general. The only thing that is different if that we’ve been informed by the experience of actually doing it. Sometimes it would feel so mad to have a section like that at the end of ‘Metal & Dust’, where we were worried that it might have been too far removed from what we actually are as a band. Having experienced that live, it slightly relaxes the band.”

I worry, given Reid’s vocal/muscular issues and stress/anxiety – not forgetting her stage fright – there is still too much pressure being put on the group. The trio’s friendship almost broke when they had to cancel gigs (owing to Reid’s fatigue) and the frontwoman has been put under immense strain since the debut. It seems like they are on a more solid footing and have less stress in their life – one hopes that will not reverse when they tour their current album internationally.

They have a huge following in Australia and, although that has created a huge fanbase and airplay, it means long flights are inevitable. I hope the trio manage to stabilise and in a calmer headspace; that things get on a level footing and they are able to produce and tour music on their own terms. The tale of their first album – and the madness and fracture that occurred afterwards – should act as a warning sign for any label/artist put in a similar position. It is still early days for London Grammar but, if they are able to find a perfect work-private life balance, then they could well be one of the most successful and inspiring acts…

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WE have heard in years.

ALL PHOTOS: Press/Getty Images/London Grammar (unless stated otherwise)

FEATURE: Globetrotting (Part Four): Thirteen Artists to Watch

FEATURE:

 

Globetrotting (Part Four):

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 IN THIS PHOTO: Miss June 

Thirteen Artists to Watch

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THE penultimate edition of Globetrotting

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IN THIS PHOTO: Janie Bay

takes in talent from nations like Italy, South African and Israel. There are a couple of British acts and artists from the U.S., Canada and Australia; New Zealand, too – and fantastic act from Stockholm included in the mix! It is another packed edition and one that should give you food for thought. Among the sounds are tribal/African beats and fresh Pop; incredible Punk and some enticing Rap. It is a weird and wonderful blend but it shows the breadth and depth of talent around the world.

Let’s hope there is something you like and can get your teeth into…

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Pikachunes

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PHOTO CREDIT: Coco Campbel

Location: Melbourne, Australia

Genre: Pop

Essential Song: You Are

Follow: http://pikachunes.com/

Phoebe Hunt & The Gatherers

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Location: Austin, U.S.A.

Genre: Country

Essential Song: New York

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 PHOTO CREDIT: @mashbit

Location: Toronto, Canada

Genre: Yaya

Essential Song: Bedroom Fall

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Location: Pretoria, South Africa

Genres: Folk; Pop

Essential Song: The Way It Should Be

Follow: http://www.janiebay.com/

Jade Lathan

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Location: Detroit, U.S.A.

Genres: R&B; Soul; Electronica; Pop

Essential Song: Guala

Follow: https://www.facebook.com/JadeLathan/

Steve Buscemi’s Dreamy Eyes

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PHOTO CREDIT: Ola Lewitschnik

Location: Stockholm, Sweden

Genres: Dream-Pop; Indie

Essential Song: Call Out

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Location: Forster, Australia

Genres: Folk; Pop; Electro

Essential Song: Fool’s Gold

Follow: http://www.jackrivermusic.com/

Monowhales

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Location: Toronto, Canada

Genres: Indie; Pop

Essential Song: Take It Back

Follow: https://www.monowhales.com/

Liberty Ship

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Location: Sheffield, U.K.

Genres: Rock and Roll; Alternative

Essential Song: Cast Away

Follow: http://www.libertyshipband.com/

Fabri Fibra

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Location: Milan, Italy

Genres: Rap; Hip-Hop

Essential Song: Fenomeno

Follow: http://www.fabrifibra.it/

Quarter to Africa

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PHOTO CREDIT: Amit Ofek, Boaz Samurai; Guy Trefler, Ariel Efron and Haim Yafim Barblat

Location: Tel Aviv, Israel

Genre: Afro-Arab Funk 

Essential Song: Connect

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Location: New Zealand

Genre: Punk

Essential Song: I Don’t Wanna Be Your Dog

Follow: https://www.facebook.com/missjunenz/

Desperate Journalist

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Location: London, U.K.

Genres: Alternative; Pop

Essential Song: Be Kind

INTERVIEW: Titus Makin

INTERVIEW:

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 PHOTO CREDIT: Michael Morgan 

Titus Makin

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HE is based in Los Angeles…

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 PHOTO CREDIT: Michael Morgan

but has links to Georgia and Arizona. I talk to the U.S. star Titus Makin about his new single, Ropes - and shooting its incredible video. He discusses his connection with God and how faith connects with his music; whether there are going to be more songs in the approaching months – and the artists that have inspired him already.

I ask about touring and if we can expect him in the U.K.; how he balances his acting career – he appeared on shows like Glee – with the demands of music; what advice he would offer anyone starting out – and whether he has plans for Christmas.

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

Mine has been great! Hope yours has been as well!

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

I’m Titus Makin; a Pop artist and actor. If you like Pop music with Soul undertones, I'm your man! L.o.L.

Ropes is the new single. Tell me about its story and how it came together?

I was honestly just with my producer/co-writer (Jake Scott). We heard a Maroon 5 song and wanted to write something in that tempo. Then, I started sharing with him how difficult it can be to not fall back into old habits and sharing how much it means for me to stay near to God - "Keeping me on his ropes" (not letting me stray away due to my own selfishness) 

The video looks like it was an interesting experience. What was the shoot like and do you enjoy filming videos?

The shoot was a blast!

I love the creative process of doing a music video. It was my first time having backup dancers - which added a beautiful energy to the song and final picture.

Will there be an E.P. or more material coming soon?

YES. I’m working on an upcoming E.P. - now titled LEAN - which will also feature Ropes and an upcoming single, Good Love.

You are an artist from Arizona. What is the music scene like there and were there any local artists that inspired you when you were younger?

Due to me being a military brat; I'm not too versed on the music scene in AZ; but throughout high-school, I definitely met some phenomenally talented vocalist.

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 PHOTO CREDIT: Michael Morgan 

How important was your time at the New York Conservatory for Dramatic ArtsWhat are the most important lessons/things you learned whilst there?

It was very important for me, personally.

I started going to school there very young so I had a lot of maturing to do before I could get out on the battlefield of entertainment. By the time I graduated, I was well equipt with the technical and historical side of acting. I also learned not to drink too much while I was there: it can have pretty intense, damaging effects. 

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PHOTO CREDIT: @chrislabadie

In addition to music, you have starred in shows like Glee. Has time in T.V. shows like Pretty Little Liars helped your music - and is there a connection between acting and music?

Acting has definitely helped my music by me being able/willing to be more vulnerable (in writing session and just connecting to my music as a whole). Also; just comfort in front of the camera in general.

Will we be able to catch you on any other shows this year? Is it hard balancing music and acting?

Yes. I'm currently filming a show - that I have been blessed to be a part of - called The Path (on Hulu). I play a character named Caleb Matthews. Season three will start airing early-2018.

Talk to me about your musical heroes. Who are the artists that mean most to you?

I get so inspired by Lenny Kravitz, Pharrell Williams; Adam Levine and CeeLo Green. All of these gentlemen really showed how going against the grain of what the industry may have wanted from them can be beneficial - if you believe in your artistry and what you have to say.

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 PHOTO CREDIT: Michael Morgan

Which new artists do you recommend we check out?

A good friend of mine, Davie, is a new artist with some FANTASTIC music.

What tour dates do you have coming up? Any U.K. dates coming up?  

I wish! Show dates to be announced soon.

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

Usher - 8701

Because it was the real first album I owned and memorized.

Imagine Dragons - Smoke + Mirrors

Because it was my anthem and mood/energy boost for countless days once it was released.

Glee: The Music (all volumes)

Just because a lot happened during that time of my life (being on Glee) - so many songs have tons of amazing memories attached to them.

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

Believe you're able, believe you're enough; believe in God. Don’t let anyone make you inferior about the talent you have to offer.

Christmas is approaching. Do you all have plans already or will you be busy working?

Thankfully, a lot of the industry shuts down during the holidays; so my plan is to head back to either Arizona or Georgia to be with family.

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’m currently obsessed with Thunder by Imagine Dragons

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Follow Titus Makin

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FEATURE: Natural Selection: Why Music from Our Childhood Stay with Us

FEATURE:

 

Natural Selection

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PHOTO CREDIT: iStock 

Why Music from Our Childhood Stay with Us

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I could have named this piece 'Teenage Kicks' but that…

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IN THIS PHOTO: Cerys Matthews/PHOTO CREDIT: BBC Radio 6 Music

might have, either, made you think of The Undertones or masturbation – neither are what I am aiming for here! It is said – by psychologists and the consensus – that we cannot remember anything older than the age of two. My memory is shocking and, lumbered with depression, my recollections are near-senile-levels of uselessness. I can see a person walk into a room and, seconds after they leave, not remember the colour of the top they were wearing – or what they said and most of the conversation. Some people have extraordinary memories but most of us will be in a similar situation. We only recall brief details from interactions and none of us will have any clear memories when we were a toddler. My first-ever memory was musical – I will talk about that, soon – but, in terms of clear and vivid recollections; most of mine are from childhood/early-teens. Psychologists can recondition memories regarding those who suffer trauma or P.T.S.D. – adapts the harshest images and removes the negative kernel. You do not strip the reality but modify the apex of fear and disgust; so that it is less traumatic when thinking back. Social media has changed the way we think and remember. We have search engines and get our ‘facts’ from the Internet. It changes the way we remember our lives and means now, in an ultra-high-tech age, we do not really need to retain facts and figures – we have a handy knowledge bank that means we have no need for intellectual retention.

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It is interesting and, as I type this, there is a fascinating show on BBC Radio 6 Music with Cerys Matthews. Check the website and you will hear her talk to guests and artists about music and memories. It is what compelled this spark and got me thinking about music’s power and endurance. Matthews’ show is in conjunction with a BBC Radio 3 who feature neuropsychologist Dr. Catherine Loveday; who explains the psychology that connects us with the music from the past – it is an experiment being tested at the University of Westminster and BBC Radio 3 listeners. In the piece, she provides some fascinating insights:

The brain’s memory systems are at their most efficient during late adolescence and early adulthood. We also experience many things then for the first time, which makes them particularly memorable. But the key reason that we return to songs and anecdotes from this period of our lives is that they remind us who we are. It is during these formative years that we make many crucial life-changing decisions, initiate significant long-term relationships and establish the cultural and political beliefs which form our identity.

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 IN THIS PHOTO: Dr. Catherine Loveday

When people are asked about music that is important to them, they often favour songs that are associated with influential times, places and people – maybe their first holiday away from parents, a pivotal encounter with their future spouse, or a moment of self-discovery. One music producer I know, for example, chose Two Tribes by Frankie Goes to Hollywood, citing it as the sole reason that he decided to become a sound engineer. Songs connected to weddings, births and funerals are also very common, as are cultural references.

One possible reason for the strength of the musical reminiscence bump is that people tend to listen to more music during this period of their lives. Music has an intrinsic capacity to regulate emotions: what better way to manage the emotional rollercoaster of puberty than to wallow in Leonard Cohen, dance to Michael Jackson or chill out to The Orb?

These songs naturally become embedded in our important memories, both positive and negative. In our experiments, people regularly choose songs that they have listened to during sad and difficult times, as well as those linked with better experiences. These tunes seem to offer an important reminder of the emotional light and shade that give life meaning.

Music also plays a fundamental bonding role in many adolescent relationships, whether with family, lovers or friends. In our analysis of Desert Island Discs, we found that one of the most frequent reasons for a guest’s record choice was that it reminded them of a specific person, often a parent or a partner.

It has even been suggested that there may be a “cascading reminiscence bump”. The music psychologist Carol Krumhansl has shown that teenagers have superior recognition for songs that come from their parents’ and grandparents’ reminiscence periods. So maybe my son’s love of The Beatles reflects my own fondness of the Fab Four, which in turn stems from my parents”.

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Every one of us has different perspectives and recollections of music; how it affects us and why we retain certain memories. Does Classical music stay in the mind because it is more epic, fluid and grand?! There are no vocals – unless it is an Opera piece – and it is easier to bond with the elements and complexities. The fact the music has already survived hundreds of years means it has gravitas and potency. Is this why a lot of modern Pop escapes our mind – many design music that is instant but has no long-lasting effects? I feel too much of today’s music is concerned with a quick-fix and making that initial impression: many are not concerned with after-care and the longevity of what they create. Many of us remember what we choose to and dispense with everything else. I feel there is more to things that discarding the second-hand junk and treasuring the gold. I feel place and situation, mixed with quality, is responsible for the songs/artists that remain in the brain. I have written about this subject before – the music from my childhood more important than the music I hear now – and why memory and music are so intrinsic and complex. There is simplicity to be found: the best music and that which ties us to fonder times will always stay in the brain. I am listening to music (on BBC Radio 6 Music) and, whilst I am not a huge fan of the song itself, it instantly takes me to a particular time.

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IMAGE CREDIT: Getty Images

I have not heard Moondog’s Bird’s Lament for a long time but, when listening to it, I can visualise when I last heard it – the effect it has and all the sounds/smells present in that setting. As Matthews speaks from the Wellcome Collection; I am listening to the song that has just been played and how it has been translated and adapted through time. Moondog’s song was sampled by Mr. Scruff and has been sampled by others. The way new musicians preserve and evolve older recordings means classical favourites are making their way to younger generations – who will create their own memories of that song and, in a way, have a connection with the original. None of my musical memories centre on Classical music but it is a genre important to me. I am more drawn to the contemporary and modern sounds I grew up with and my musical memories start from about aged two. The main focus on this feature is the teenage years but my first recollection of music, and life, is hearing Tears for Fears’ Everybody Wants to Rule the World. I was a toddler and heard the shimmering introduction and powerful chorus emanate from the family kitchen. I am not sure why it is that particular song that made its way into my memory first but there was something about the production and sound that made it impactful.

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IN THIS PHOTO: Hannah Peel (who took part in the BBC Radio 3/BBC Radio 6 Music morning that looked at music and memory)

Other music memories formed but that was the beginning of it all. Childhood, in fact, was a pivotal time because of when I grew up. I was born in 1983 and lived in a very musical household – in the sense music was being played all the time. Being born in that year meant artists like Duran Duran and Michael Jackson would have been on the radio – although, I would not necessarily have remembered them that first time around. It was the exposure to my parents’ music that forged and started that love of recorded sound. I was brought up on The Beatles, T. Rex and Steely Dan – Kate Bush, The Bangles and The Rolling Stones were all in there. I think I can bond with the school of thought that suggests prolificacy and experiences cement certain times/sounds into the mind. I was exposed to so much music when I was growing up so it is only natural many of those artists remain in my mind – and that, in turn, compelled me to get more involved in music and listening. If the household were relatively mute then I do not think music would have played such a huge role this many years down the line – I would have moved to something else and might be a different person. When I was at school, those were the first real signs of independence and life. You do not have to take full responsibility for yourself but no longer are you the naïve toddler bumbling around without a care in the world.

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PHOTO CREDIT: Semonegna

It is a stressful and strange time where you meet new people and face the challenges of the educational system. Music was vital because it helped those harder moments but, in my view, was much stronger. The quality of sounds coming out in the late-1980s and 1990s was extraordinary. Then, we were not in the Internet age and exposed to so much music all the time. My experience with music was through radio and playground chatter. We had cassette players and would share tapes: a very different time where music and remembrance was more communicative and sociable. Kate Bush, I think, was the first icon to really stick in the mind. It was her unique edge and quality that got into the brain; the oddity and beauty of her music. The expressions and potency imbued within her music resonated and many other artists (of the time) did. I feel the music I remember from childhood is the very best we have ever heard. I remember little of the lesser chart acts and insignificant albums: all of my memories are of great and inspiring sounds of the day. We all have ‘trigger tracks’ that takes us back to specific times. Songs like A Good Heart (Fergal Sharkey’s version) and Super Trouper remind me of my late aunt; the Dance music of the ealry-1990s of middle-school and friendships. I feel circumstance and situation are more powerful than quality – when it comes to the songs we remember. I had a relatively happy childhood and school was not especially traumatic. The lessons and curriculum have faded – in the sense I have assimilated those lessons into my head and they have surpassed their practicality – but the music has not evaded me.

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IMAGE CREDIT: Getty Images

I can associate certain songs with very clear memories. One that comes to mind is a classmate getting on a chair (might have been 1992) and playing The Shamen’s Ebenezer Goode. It was a bold moment but one we all responded to with tribal dancing and chorus singalong. I have countless memories like that because it was a transformative and challenging time. Children have to take a lot in and it is a tough time: the first experience of stepping out of the household and interacting with other humans. There was, unfortunately, a lot of bullying in my early years. This is especially true of high school where I was subjected to physical and verbal torment. The perpetrators have all forgotten the times, I assume, but they are scorched in my mind. It was hard explaining and revealing the torture to my parents – the scars made dialogue inevitable – so music was a form of escape and comfort. The paternality and soothe of the music meant I could channel the fears, pain and upset of the bullying into music. I became more immersed and engrossed in music because it was a confession booth and silent friend. Many of us forget what we did this morning but can remember why we listened to The Beatles as a youngster. The longer-term memories migrate to a different part of the brain; musical memories are distinct and (evidentially) are kept in a part of the brain immune to the worst effects of ageing and dementia, let’s say. We discard the triviality of the ordinary day because most of what we experience is inane and insignificant. We remember the most harrowing and day-altering events but most of it is forgotten. Most of the music we grew up with gets lost but we instantly tie songs and artists to particular times.

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IN THIS PHOTO: The Beatles/PHOTO CREDITHulton-Deutsch Collection/CORBIS/Corbis via Getty Images

There is a plurality inherent in music whereby we tie particular songs to memories – rather than people and conversation. I want to finish up by talking about the teenage years and the period from high school to university. It is beguiling when we listen to single notes and why certain songs come to mind quicker. We can hear a single second of one song and it instantly springs to mind: others, it takes other songs longer before they are identifiable. There might be something in the sonic make-up or the popularity of that song. One could spend hours debating music robustness and whether certain genres and styles make a bigger imprint. To me, all of my musical passion and strongest memories come from the time when I was a teenager. This is the period in our life when we take a more active role in music and start discovering it on our own – not as beholden to our parents’ tastes and hand-downs. I guess school and going from one to another is more memorable than other periods of our lives. These are the times where we all experience dislocation and new challenges. Music is the constant that follows us and is that universal bonding tool. Because I was older – and knew about school and how difficult it is to adapt to a new setting – it was especially hard going to high school. Although it was a mile from where I lived; it felt like another world. It was much more grown up and I feel, the closer one gets to adulthood and job responsibility, the more pressure you have at school.

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IN THIS PHOTO: My old high-school, Glebelands

My peers felt that pressure and, rather than sublimate it, we expressed that through discussion. Invariably, that turned to music and the best songs at the time. I entered high school in 1994 and right in the middle of the Britpop explosion. Acts like Blur and Oasis tussled for chart glory; Pulp were the intellectual outsiders – brilliant chart music at the time got into the mind, Dance and Electronic music meant the likes of The Prodigy and Chemical Brothers were synonymous. Throw in the last throes of Grunge and the rise of U.S. guitar music and it was a wonderful time. The fact the finest music of all time (in my mind) coincided with the most stressful period of my life means the sounds of the time have a larger portion of my memory and fondness. Maybe it is the fact so much of the 1990s music is played now – less so with the 1980s – that this period sticks in the mind. One can tie that to quality but, to me, the connections to the people I went to school with is much more enduring than the popularity of the music. The songs of the 1990s helped me through tough days and soundtracked some of the fondest memories from the period. Friendships were cemented, great achievements occurred and priceless times imprinted in the mind – all backed by some tremendous music. I listen to certain songs and can remember people and particular conversations. I feel music’s true power is when it connects one to their past and the way music guided and supported them. I survived high school and one of the reasons I was keen to continue studying was the power of music and the fact it was a constant companion. Of course; that love continues to this day and it is questionable whether I would write about music were it not for the role it played all those years back. Such a fascinating one that deserves more exposure but, for now, it has got me thinking about songs from childhood – a chance to revisit them now. Think about music and the role it plays in your life; why it is so important and the wonderful….

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PHOTO CREDITFuture Music Magazine/Future

MEMORIES it provokes.

TRACK REVIEW: L.A.D - Dance Floor

TRACK REVIEW:

 

L.A.D

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Dance Floor

 

9.5/10

 

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 Dance Floor In is available via:

https://open.spotify.com/album/4D75P7kIvePVSofcVUe9AN

GENRE:

Pop

ORIGIN:

Reading, U.K.

RELEASE DATE:

September 2017

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MY review schedule has changed a bit…

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so I am fitting L.A.D ahead of other choices I had in the diary. It is a shrewd move because, listening to their debut single, and it gives me much to talk about. I want to look at the 1980s and artists whose legacy we should carry on; singles that gets you dancing and lift the mood; artists that are making their first moves – a little bit about unsigned artists and those important early days. I knew L.A.D were going to form because I have followed Natalie Gray. The striking red-head is someone who has been on my radar – I have reviewed her music and was struck by its unique sound and compelling energy. Live in Love was the song I got to grips with and, listening to L.A.D’s new track, there are some similarities. L.A.D are an exciting new force; a trio that seems fully-formed and primed for big things. Gray has come from the solo arena and got together with two guys who are on the same page and wavelength. The band’s acronym is a secret but their music is for everyone. In fact; the solo single, Live in Love, was made as L.A.D – except it was named as a Natalie Gray song. It seemed natural the guys would all go into music as an official force and record more music. It all started after a successful set at Pride in the Park and, given the big reception they were afforded, many were excited to see what would come from them, next. I have been following Gray for a while and know she is a special talent. The trio (Natalie, Luke and Jack) is a hard combination to get right and can often be seen as risky. With a duo; there is a harmony and the two need to have a really solid bond and understanding. Bands are a little risky, too, but there are enough members to hide any real problems. It is easy for a trio to have a bit of imbalance – one of the members seen as a third wheel, perhaps.

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That sounds harsh but I have seen a few trios that have broken up because it hasn’t quite worked out. One does not really know why certain acts break up but it impresses me when trios do succeed and thrive. I think that will happen for L.A.D because they are great friends and have been jamming for a while. It is a democracy and never subject to any power struggles or disagreements. I swore, yesterday, I would not go back to London to review for a while but, seeing as I am waiting on a few acts to get back to me – I have bumped L.A.D up the list and reviewing them at the moment. In fact; the trio are actually based out of London. Reading is their base and they are quite content and happy being there. I want to discuss areas outside London because, in previous reviews, I have said how anyone within a certain radius of the city is classed as a ‘London band’. That is seen as commercial and, if you say you are from elsewhere, people might not know where that is – maybe unwilling to see a band who are from outside the city. I shall not get back into the North-South divide in music but I feel artists outside of London should not be classed as anything other than who they are – and where they come from. I live just outside London and am not proud of where I come from. It may be ironic me classing myself as London-based but people care less if you are a journalist (I do not travel to meet artists or get featured by anyone else) but musicians are a different story. Reading is a place many might not be familiar with but it does have an active music scene. Whilst I think The Amazons are a bit disappointing: they are from Reading and putting the town on the map. Artists like Does It Offend You, Yeah?, Laura Marling and Slowdive either come from – or have spent a lot of time in – Reading. It is close to London but one does not have to live there to reap the rewards.

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I am pleased L.A.D are where they are but I can see them relocating to London shortly. They are close enough, now, but Reading has a few great venues L.A.D could play. The Purple Turtle, Sub89 and Oakford Social Club are a few options for them. Reading is quite varied when it comes to music and venues but there are local options for the trio. I feel the guys are more drawn to London because it has a huge variety of areas – and some like-minded artists they can feed off. I am not sure what the scene is like in Reading, sound-wise, but I cannot imagine there are many quite like L.A.D around there. I know there are great Rock bands coming through but, in terms of 1980s-influenced, Pop…perhaps not so much so. The capital gains of London are clear and that is what is drawing many artists in. L.A.D are a fresh force but they have some gigs lined up. Their single has just been played on Shoreditch Radio – as part of their Shoreditch Unsigned selection. That combination of words is ultra-hip and as London-like as you can get. The trio are not snobbish or elitist but their music does beckon the cool and trendy in. Reading is hospitable and popular but areas like Shoreditch/East London are much more suited to the sounds of L.A.D; the vivaciousness and energy of the trio and where they want to head. Before I move onto the next point; I want to urge the guys to get more of their images out there. I am interviewing the guys very soon and have some press images in my inbox. They have been sent through Google Drive and I am unable to copy them into the blog – there are a few good images among the pack. I shall get it sorted before the interview comes back – get Cannonball PR to resend via DropBox – but it would be nice to have them on the social media sites. The trio have a great friendship and that reflects in the images they have.

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It would be great seeing those pictures on Facebook as it would give the public a greater insight into their world – maybe they are holding them back for press at the moment. Pictures/lack of is one of my main gripes when it comes to artists but I feel that is something L.A.D will sort out very soon. Maybe an official website will come, too? I am not sure whether they have one (and I’m not looking hard enough) but, when more songs come, it will follow. Things are starting to hot up for L.A.D so there are a few suggestions. I would not recommend changes if I did not think the artist was unworthy. L.A.D have a clear future so some great shots and more information would be a good start. I would like to know where they come from and how they all formed; how each member came to know one another and details behind their music. Seeing as they are so new; it would be harsh to expect too much but, as I said, that will all follow. I want to look at unsigned artists and the benefits of remaining detached. I mentioned how L.A.D were featured on Shoreditch Radio’s unsigned show but maybe there is some ambiguity there. The broadcast, I guess, is meant to feature artists who are really good but have no record contract. It might be the case (the show) looks to boast and showcase great artists who are so good but have no recording deal. Anyway; I feel the trio should not race to get a record deal because they have a sound and hunger that is all their own. Many feel a record deal is the be-all-and-end-all but, in reality, it isn’t. Labels can direct artists too much and exert strong influence – that means their music is not really theirs and they do not get much of a say. L.A.D have a fairly glossy and big sound so they might be looking for a label to help bring that to the masses.

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I hope, if they do get a deal, they are smart with their signature. There are sharks out there and, although L.A.D will want a bit of commercial success, fitting into the charts and the masses is not everything. The guys can forge a career on their own merits and, if they do want to spread their music across the waters, they can do so with a P.R. company. That is down to them but I feel radio shows that feature unsigned acts might steer artists the way of greedy and uncaring record labels. I choose to believe the shows are a way of promoting artists doing things by themselves – those who do not need big money and labels to make their music sound incredible. The early days are the most important for any act so ensuring you create an impact is paramount. One can look at L.A.D and feel there are many out there like them. Look closely and the D.N.A. of L.A.D is very distinct. Their track, Dance Floor, is bold and brash and takes every opportunity it can to get into the head. I follow many artists who are starting out and it can be quite nervous seeing where they head – if they have the passion and stamina to cope with the realities of music. The players in L.A.D are not naïve and they know what is required of them. I have seen a few 1980s-inspired artists come through (Shura among them) and feel there needs to be greater exposure. Most new artists take familiar sounds and create music that does not stray too far from everything else out there. You do get some original acts but quite a few are keen to play it safe and ensure they survive. Who knows how far L.A.D can go but, on the evidence of their first song, they have a glorious sound that rings in the mind.

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One of the reasons I know the trio will grow and succeed is the sound they have at their disposal. It is a hard time for everyone right now so we need to embrace songs/styles that elevate the senses and get the mood lifted. The spirit of Madonna, Chaka Khan and Prince comes out in Dance Floor. The 1980s might not seem like an obvious decade for inspiration. If you are looking around for guidance; it seems the likes of the 1990s and 1970s might be more obvious. Many have a negative view of the 1980s and think it will be all cheesy Pop and tinny Dance music. I think we get a false impression of the 1980s because of compilation C.D.s and the music played on stations. If you look closely, the decade gave us the likes of Pixies, The Smiths and Talking Heads – artists that hit their stride and created some of the best music of the time. So many assume it is all naff stuff and forget what quality there was during that time. If one thinks about the amazing Soul, Pop and Dance of the time: can we really say the likes of Madonna are not strong enough to define the decade?! I have written a feature on her – you can dig it out if needs be – but I feel she is someone with enormous influence. An icon who continues to compel new artists coming through – she is as synonymous with the 1980s as anyone else. Forget all the crap Pop that existed at the time and remember we experienced legends like Madonna. Her music translates through the years – even though she is still recording – and I know there are a lot of artists who count her as their focal point. Why I wanted to raise the point is because of the sense of fun and frivolity you get from artists like Madonna. She created serious and wonderfully deep music but it is the colours and captivation that gets to me.

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Hear a song like Material Girl and Papa Don’t Preach and, although there are serious issues discussed on both songs, there are big choruses and fantastic vocal performances. Madonna was capable of addressing subjects like feminism, abortion and sex without preaching or making it sound insincere. Sometimes, her music had an air of sadness: other times, it was sparkling and fantastically bright. Her career evolved as she headed into the 1990s and 2000s but it is her 1980s heydey that has inspired so many. I have mentioned Prince and Chaka Khan and, although these are artists L.A.D are influenced by; it is the Madonna link that seems strongest. Put all those names together and you have a rich and vibrant brew that few other acts are displaying. The 1980s should not be reduced to the chart acts of the day and the slight music – there is epic strength and some legends from that time. Because of this; I feel more artists need to dip into the treasure chest of the decade and see what there is on offer. L.A.D have already recorded other songs so I am keen to see what form they take and whether they will have the same make-up and ethos as Dance Floor. Their current jam is something that gets you onto the dancefloor and makes the people move. I stated how times are changing and we are in a pretty bad place right now. Few can deny we are stable and together so, because of this, music has an important role to play. Anyone who wants to get away from all the stress and strain of the average day could do a lot worse than dive into L.A.D. The trio creates sounds that overflow with force, fun and the fantastic. They are not tackling anything more profound than the need to get onto the floor and move your cares away. There are side-issues and nuances one can pick up but, at its core, the song is determined to get everyone together and lose themselves in the music.

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That is what happens on Dance Floor and I am so glad the guys have released the song now. It is a bad time so we need that escapism and blast of energy. It takes from the best sides of Madonna and Chaka Khan and fuses Disco undertones with a Pop heart. L.A.D are uncompromising and could have crafted something ready for the mainstream and shallow – an easy song that relies on overproduction and clichés. The Reading trio would never do this so I am excited to see where they go. Before I get to the song itself; it is worth noting how keen they are to update their social media and being new fans in. A lot of artists overlook this importance and do not inform the followers. It can be hard getting on top of everything but it is easy enough to do some semi-regular updates. If you do not tell people what is happening, they will look elsewhere and get a bit bored. L.A.D have been giving us information about their single and the dates they have coming up. There are photos – more will come, as I suggested – and I am looking forward to seeing a possible video for Dance Floor. Whether that arrives before the end of the year, I am not sure, but you can be sure the trio will inform us before too long. The best and most enduring musicians are those who manage to create great music and please the fans. It is not business-like being active on social media: it is the way many communicate so one cannot underestimate its importance. A few blasts of Dance Floor and you are hooked onto L.A.D and keen to follow them whether they go. I suspect their fanbase will expand as the months go by but, right now, they have struck a vein of gold.

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Luminous electronics and punchy beats open up Dance Floor. The percussion has that clear debt to the 1980s and is quite compressed and intense. Glittery, starlight electronics twinkle into view and bond with the gruff and austere beats. It is a potent combination and gets the songs off to a flyer. The trio feels no need to rush in with the big rush and vocals – they infuse the song with plenty of intrigue and spirit. One half-expects, a few seconds in, for Madonna to come to the microphone. There is a bit of the taut Funk Prince was synonymous with but, in the early phases, I get scents of True Blue, Like a Virgin and Like a Prayer – the extraordinary trio of albums Madonna crafted in the 1980s. The Like a Virgin suggestion of the introduction fuse and explode into the slam of I Feel for You (Chaka Khan). The trio have a fondness for these songs but never replicate them. From the tender and teasing seconds comes that rush and step-up. Instantly, the listener is jolted and compelled to follow the song wherever it goes. The giddiness and head-fuse of Dance Floor kick in and it is impossible not to feel a physical connection to the sounds. Some cut-and-paste/vibrating vocal echoes weave in the shadows as, in the light, the composition gets hotter and heavier. In fact, if we are weaving in 1980s icons – and a name I forgot to mention earlier – there are flavours of Michael Jackson’s Thriller and Bad. I get embers of Bad’s Just Good Friends and Thriller’s Human Nature. It is wonderful hearing suggestions of these artists – the trio never exploits this but make the music their own. Despite the rouse and rush of the song; there are some weighted words at the heart. The heroine is talking to a sweetheart and someone who is talking about her. In fact, I was wondering whether the issues of gossip and deceit were levelled at a boyfriend or a friend – someone who has been spreading rumours and falsehoods.

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Our girl is waiting for them to act and seem exhausted by games that are played – the need to be alert and aware all the time. This does not matter when she hits the dancefloor. Perhaps there is that suggestion of short-term romance and complex emotions. The desire to forget all of that and embrace something simpler is infectious. The heroine dispenses with all the chat and fights and embraces the allure and theatre of Dance. “We’re all the same when the lights go down” it is said and one cannot help think, when listening to that line, there is a nod back to the 1980s. I associate modern dancefloors with sweaty clubs and all the infection and drunkenness associated with that. On Dance Floor; things are more innocent, sweet and tolerable. In fact; there is a definite evocation of simpler days when one could go to a club and dance – not crowded by drunken idiots and pummelled by inane and ultra-loud music. The song is never simple and predictable. The beats and electronics pause whilst Gray’s voice goes through different motions. There is growl and intensity one moment: it then transcends to something rapturous and operatic. Syncopated and unexpected; there is a sense of progression and development as the song goes on. The heroine urges (the man) to stick to her and cling to her body – one of the sweatier moments on the song – as they can “go all night”. One definitely senses impending ‘climax’ but the song is not about sex and getting your rocks off. It is definitely about the dance and surrendering to the power of music. Modern Dance/Pop songs seem too concerned with sex and relationships but here they play a minor role to the prowess and potency of music itself. Even if the friends/lovers have things to hide: by the time they get onto the dancefloor, they have so much to give. “It doesn’t matter on the dancefloor (Dance Floor)” is the coda and theme that links everything together.

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Our girl does not expect a call or the name (of the guy). She is in the club to get high on the music and not really concerned with anything long-term. Maybe that seems shallow but guys get it into their heads that a girl wants to be with them forever – that arrogance and clinginess put many off. Here, one gets a real sense of independence and pride. The girl is stepping onto the floor and making people move. L.A.D combine superbly throughout and meet the intoxicating and vibrant vocal with incredible music. The electronics stutter and jar; they swell and punch whilst the beats are consistent and blood-rushing. All of this comes together in a song that ingrains itself into the memory. One hears shades of the 1980s legends but plenty of modern-day inputs. L.A.D are not your average act who lazily duplicate what has gone before. Few can resist their charms and powers. Dance Floor is a teasing and alluring bomb from the Reading trio and suggests they have plenty of life in them. Nobody who hears the song will walk away unaffected. I have been a bit sceptical about the power of Pop and whether it has relevance today. A lot of that stems from the rather bland and commercial nature of the music. Here; we get a trio that are determined to inspire and craft their own empire. An extraordinary opening gambit from an act that are going to be in the music business for a very long time to come!

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I will finish things soon but wanted to look ahead and see where L.A.D will go. Dance Floor has been given a lot of focus on social media and some great reviews. I know the trio will want to build on that and get their names to the world. At the moment, they are cementing a core in London and surrounding areas. I am already keen for new music from them. That is not a reflection on their debut single but the addictive sound and quality of the music. Dance Floor is what we need right now: something that gets into the brain and compels the body to move. I am sure the guys have dates in London but they will want to get their music to the wider population. I have stated how London grabs so much focus but, when it comes to L.A.D, they will want to go beyond and travel throughout the U.K. Maybe it will take a few more songs before they get international requests but I would not put a mini-tour of Britain out of the question. London is a popular base and somewhere L.A.D will explore in depth. Getting people talking in the capital is as important as anything – it is where the labels and big stations are. When new music does arrive (indication is it will be soon); the radio stations will be looking out and keen to feature the trio. Right now, many might assume it is the Pop-driven stations like Kiss that will be interested in L.A.D. In reality, one need only listen once and realise the song is capable of getting love from the likes of BBC Radio 2 and BBC Radio 6 Music. Making your music as adaptable and wide-reaching as possible is a great way of ensuring popularity and longevity. I think L.A.D will go onto big things and many people will call for an E.P. Not many can deny the extraordinary sounds of Dance Floor; so there will be an eagerness for new material and continuation.

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I have mentioned the importance of the 1980s and how few artists are exploring the decade with any real intent. A lot of new music is too serious and intense so I find myself looking around for something that is more fun and uplifting. It is easy to understand why some artists decide to talk about love and its heartache – concentrating on that too much can be depressing and predictable. Not many songs look away from relationships and make songs for the masses. This is why L.A.D should be commended and proffered. They will look at love down the line but there is passion and intensity in Dance Floor. I will end this now but wanted to single L.A.D out and how good they are. Not many have the same chemistry and components as them. A trio with a great friendship and an understanding of where they can head; it is going to be an exciting 2018 for the Reading purveyors. Who knows how far they will go but I feel there are many years ahead for them. Dance Floor is a confident, busy and fizzling banger that has a visceral sense of colour and fun. This is something we need to breed and spread throughout music. L.A.D are not responsible for reinventing and rejuvenating music but they have an important role to play. I would suggest they forget about record deals and not put that at the centre of their world. Maybe they are keen to be independent and I think this would be best, right now, for their music – in time; getting a good and trustworthy label behind them would give their sounds that extra push and support. The weather is gloomy and it is getting darker. Many are talking about Christmas and not really looking back at the incredible summer and hotter days. That is understandable but along come L.A.D who have created a song that bubbles and dances; it struts and seeps into the bones. In an age where there are few groovy and rapturous Pop songs; we all need to be more aware of…

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A very special trio.

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Follow L.A.D

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FEATURE: King Gizzard & The Lizard Wizard: The Music, Magic and Mind-Fu*k

FEATURE:

 

King Gizzard & The Lizard Wizard:

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 The Music, Magic and Mind-Fu*k

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IT is hard to think of a lazier band out there…

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PHOTO CREDIT: Jamie Wdziekonski

than King Gizzard & The Lizard Wizard! It is amazing to think that, this year, they will only release FIVE albums! I jest, naturally, but that is a thing that amazes me about the Australian band: they seem to have no facility for fatigue. There are bands/artists that take five years between albums: the fact the Melbourne seven-piece are planning five albums this year speaks volumes! I get annoyed when artists take time away and spend far too long formulating records. I shall not name anyone specific but one need only look around the music world and you can see the chasm acts leave before their next record...

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I know every artist needs to tour but I am baffled it takes so many THAT long to bring out a new record! I wonder what they are up to in that time and whether they realise how much of a risk it can be – leaving a gap that long risks many finding other musicians who are more prolific. The thing about King Gizzard & The Lizard Wizard is their sheer zeal and inventiveness. Each album sounds different to the last and they are never keen to repeat themselves and stick to the same format. Whether they are talking about mystical beasts and overlords; the changes in the world or something less substantial – the boys never disappoint and always bring something weird and wonderful to the party.

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Their current album – and third of this year, so far – is Sketches of Brunswick East and alludes to Miles Davis’ Sketches of Spain and the Melbourne district of Brunswick East. The record explores Jazz more and is one of the more listenable and accessible records of the band’s career. It flows and melts together wonderfully – the record is a collaboration between the Melbourne crew and Mild High Club. Alex Brettin, the sole member of the band, stayed at Stu Mackenzie’s house (Mackenzie is the lead of King Gizzard') and the two came up with vague ideas for songs. They recorded drafts on iPhones and, in time, the music started to form and mutate.

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ILLUSTRATION CREDIT: Berat Pekmezci

I listen to the album and it sounds unlike anything King Gizzard & The Lizard Wizard have ever created! The record explores Jazz and experimental avenues but is never restrained and limited. Critics have afforded the album passionate reception (it was only released on Friday) and noting the changes from Murder of the Universe and Flying Microtonal Banana – both released this year. The reason I wanted to feature King Gizzard' is because of their prolific and exhaustive work ethic; the way they change their dynamic each album – and the way they push music forward without many people noticing.

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IN THIS PHOTO: King Gizzard & The Lizard Wizard with Mild High Club/PHOTO CREDITWDZIEKONSKI

Relatively few have heard of the band outside of Australia (there is building reputation but they are still under-the-radar) but that will all change. Whether it is working with unusual turnings or creating a Prog-Rock odyssey – the guys are among the most unusual and inspiring groups around. The record, Murder of the Universe, works in three different stages. According to Wikipedia – thanks to them for summarising – this is what it is all about:

The first, The Tale of the Altered Beast explores themes of temptation, and tells a tale of a human who stumbles upon a mystical human/beast hybrid, dubbed the Altered Beast. The story starts from the perspective of the human being pursued, who slowly takes interest in the idea of being altered – as it is considered taboo in their society. The perspective then changes to the Altered Beast's itself, who is filled with murderous intent to kill. The human encountered by the beast slowly gives into temptation into becoming altered once the beast confronts them, as they crave power. Accepting of their fate, the beast and human merge, creating a newly altered beast, who now craves even more for flesh. However, the beast suffers greatly from absorbing another conscience – it loses track of its identity and eventually dies of insanity, decaying into the earth.

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The second story, The Lord of Lightning Vs. Balrog is more focused on a big battle between two entities dubbed The Lord of Lightning and Balrog respectively, who represent the force of light vs darkness. The chapter starts with a foreword from the perspective of a storyteller, who recalls a battle between these two great forces. This story begins from "The Lord of Lightning", which is about the general destruction caused in a town by lightning fired from the entity's finger. He is perceived as evil and malevolent by the townfolk. However, he fires lightning at a corpse, who is somehow reanimated into the creature known as Balrog. This creature chooses to ignore the Lord of Lightning, and instead wreaks further havoc to the townspeople. However, the Lord chooses to fight the Balrog and confronts him – eventually the Balrog is left as a burning corpse. The Lord of Lightning then immediately leaves, choosing not to harm the townsfolk anymore.

The third and final story, Han-Tyumi & The Murder of the Universe, is about a cyborg in a digital world who gains consciousness and through confusion decides he strives only for what a cyborg cannot do – these being vomiting and death. He decides to create a creature dubbed the "Soy-Protein Munt Machine" whose only purpose is to vomit. As the creature rejects his love, Han-Tyumi decides to merge with the machine, which spirals the machine out of control. This machine then explodes and infinitely expels vomit, which eventually engulfs the entire universe, hence the title of the album.

Mackenzie explained the album was the most narrative-driven thing they have created and its sheer scope/ambition could have sunk a lesser band. Flying Microtonal Banana, released in February, is where they played with microtonal tunings and bizarre aesthetic – altering instruments and sounds to give the album is alluring and unique sound. It is a different animal to Murder of the Universe. If that album is an apocalyptic and epic drama then Flying’ is a more restrained, if more complex, album. The band’s use of non-Western tunings and custom-made instruments showed how much they were dedicated to the project.

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Each band member was armed with $200 and bought instruments from that cash – tuning and modifying them so they could bring something different to the album. Many assumed, when the album was released, they would not top it! The songs on Flying’ fuse East-meets-West with layered Psychedelia and Rock blasts. If that was the only thing they were releasing this year then they’d get huge kudos. Few artists can match the same intelligence and originality of the record; the quality is immense and it is a tight and stunning creation. I cannot resist the chants and addictiveness of Rattlesnake – it is a song I need to play on-repeat and amazes me with its irresistible chorus and incredible composition. You get chugging guitars and twanging bass; vision of hissing snakes and distorted vocals – a song that urges the listener to swing their head and move their feet (the sort of song best enjoyed when off your head or gripped by cannabis).

That is everything the band has released this year: I believe there are another two albums arriving but unsure what form they will take. Last year - and their finest album, perhaps - we saw Nonagan Infinity which is, essentially, an infinite loop. Every song flows into the next – that includes the opening and closing track...the record never ends and it sounds like you are listening to a single song...one that never stops! Director Edgar Wright has listed it among his favourite albums and critics responded in force. AllMusic assessed it in these terms:

It's way more blown-out and weird than that, but you can hear a lot of late-'70s no-frills metal in the sound. The rest of the record is a little more varied, with moments of calm proggy respite, jazz-rock dreaminess, and blown-out psych-pop to balanced the frantic, sustained attack. The way the album is put together is an impressive feat, but almost beside the point since each song within the loop is worthy of standing alone. King Gizzard's inventive sound, giant hooks, and hard-as-titanium playing make Nonagon Infinity not only their best album yet, but maybe the best psych-metal-jazz-prog album ever.

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2015’s Paper Mâché Dream Balloon was recorded using acoustic instruments and sounds foreign when compared to King Gizzard & The Lizard Wizard’s modern albums. It shows, when you listen to the album, the boys sound as assured and confident (as any other record they have laid down). It is another bold step and could have been a gamble – for a band who are known for their oddity and thrills. MusicOMH gave this opinion on the record:

What you actually had there, however, was a bit of a gem. The seventh album in their relatively short career, Paper Mâché Dream Balloon sees these Melbourne-based neo-psychedelicists eschew the motorik churn of 2014’s I’m In Your Mind Fuzz or this year’s Quarters, trading fuzzed-out whorls for a more pastoral, mellow style – earlier explored (at length) on the jazzy The River, the first of Quarters’ four 10-minute sojourns.

Gone too is the deliberately thin, straight-to-tape sound of their previous output, perhaps despite – according to lead vocalist/guitarist and flautist Stu Mackenzie – the album having been recorded in an empty shipping container on his parents’ farm in Victoria.

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PHOTO CREDIT: Jamie Wdziekonski

There was a strict no electric instruments rule in the sessions, but rather than woody strum, there’s plenty of colour and tone from the off, thanks to the variety of other instruments in the seven-piece’s armoury: Sense’s opening minor sevenths give way to serene, serpentine clarinet, while Bone and Dirt are buoyed by wheedling flute.

Rather like the excellent album-and-a-half recorded by XTC in their The Dukes Of Stratosphear guise (or perhaps The Young Ones tie-in Neil’s Heavy Concept Album), there’s a reverent irreverence to the pop-psych pastiches here. Our ardent crate-digger could happily while away the short running time collecting references: the whimsical title-track and Cold Cadaver let in hints of Traffic’s Hole In My Shoe and Paper Sun, there’s Canned Heat under The Bitter Boogie (with a brilliant slackening-string lead guitar) and a touch of the gleefully wrong intervals of Cardiacs on the circular Time Fate.

But the songs are a little more than insubstantial homages. Sense decries the senselessness of la vie moderne, while there’s a playful menace to Trapdoor’s roiling paranoia (“Everybody knows what’s under the door, And everybody goes to great lengths for sure, To hide themselves away”)”.

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PHOTO CREDIT: Lee Vincent Grubb 

I shall not go into THAT much detail about their remaining albums but look at their back-catalogue and we can see the differences and inventions on each. Quarters! (2015) has four songs that each run for ten-minutes-ten-seconds – each is a quarter of the album. It draws upon Jazz-Fusion and is a more laid-back thing. It is something to get your head bobbing to - perhaps, not something you can see going down well in the mosh-pit. The band’s second album, Eyes Like the Sky, is a cult-Western-like-audio-experiment that is narrated and written by Broderick Smith – it tells stories of outlaws, child soldiers and the frontier. It embraces the old Western films and some evil guitars (that is what Stu Mackenzie reckoned, anyway!). 2012’s 12 Bar Bruise was the debut and was not a conventional introduction.

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IN THIS PHOTO: The album cover for 12 Bar Bruise

It was self-recorded by the band and several tracks were subject to unconventional record methods. The title-track was recorded through four iPhones – placed around the room – whilst Mackenzie sang into one of them. The fact the band has released eleven albums in five years means they are one of the most reliable and hard-working in all of music. I cannot think of anyone else that has managed to bring that much music out in all that time. Each album they release is different and relies on a different theme/concept. They have played with tunings and track length; the nature of music itself and how they record the songs themselves.

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IN THIS PHOTO: Stu Mackenzie/PHOTO CREDIT: Kimberley Ross

Before I end; I wanted to bring in a few snippets from an interview Stu Mackenzie conducted with New Noise Magazine. He was chatting about the album, Flying Microtonal Banana, and looking ahead at the albums to come:

Flying Microtonal Banana features the modified electric guitars, basses, keyboards, and harmonica, as well as a Turkish horn called a zurna. “I think there was definitely a challenge,” Mackenzie says, “picking up the Flying Microtonal Banana for the first time and just being so gobsmacked and not knowing what to do. I’ve played guitar most of my life, and then, picking up this instrument and not knowing what to do with it—it was quite confusing.”

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IN THIS PHOTO: The boys tear up The Crows Nest, Glastonbury

Initially, using the new instruments was a lot harder, which made the creative process move a lot slower, but once everyone got the hang of it, it really opened up the realm of possibility.

The band have already started playing some of these songs live, and the response has been good. “We’ve played a couple so far, and we plan to play all of them out on tour,” Mackenzie says. “We’re going to take all of the modified guitars out with us on the next few tours and maybe beyond. Maybe we’ll make more music with these guitars. I’m not sure.”

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IN THIS PHOTO: A shot from Paradiso, Amsterdam 

King Gizzard & The Lizard Wizard kicked off their U.S. tour in March and are playing dates across the Northeast, Midwest and West Coast, capping off the tour at Coachella at the end of April. “We’re touring a lot this year as well, so we’ll see what we can do,” Mackenzie says about the prospect of three or more records this year. “We kind of have been making two records a year for a few years in a row. Last year, we just put out one, which just seemed a bit weird, so maybe we were overcompensating this year by saying we were going to do so many.”

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Not a huge amount has changed in terms of King Gizzard & The Lizard Wizard’s bond and commitment to music. Stu Mackenzie has assumed the writing command – a few albums have co-writes but he is their creative lead – and each record tackles new ground and reveals fresh discovery. I wanted to feature the Melbourne band for a few reasons. They have managed to create a raft of exceptional record but, more importantly, showed bands you can break ground and push limits. Rather than take years to release some average album – there are a couple of big acts who have done that this year! – they have produced high-quality records quickly. Each L.P. has a niche and U.S.P. Maybe the fact they have seven members means they can bust through material and recording quicker but I think the sheer size of the band creates potential banana skins. It is quite clunky and, having that many voices, means disagreements can come up – getting all the players in the same room to record an album is a logistical nightmare. Maybe that will be their next record: a series of songs recorded via Skype?!

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IN THIS PHOTO: The band on the William Green Stage, Glastonbury

The boys are in audacious form and there are no visible cracks in the band’s armour. Considering they have been performing together since 2010 means, if they had found flaws with one another, that would have happened by now! The guys are almost like brothers. They have an insane connection and seemingly endless possibilities! I cannot wait to see how their next two albums shape up – due this year, remember – and whether their insane work-rate continues into next year! Mackenzie stated the band are over-compensating a bit this year but they feel the need to put that much material out shows they are hungry and determined. Get into the mindset of (the tremendous) King Gizzard & The Wizard Lizard and you are stepping into a land…

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WHERE rattlesnakes, The Lord of Lightning and a Flying Microtonal Banana lurks!

INTERVIEW: Sara Diamond

INTERVIEW:

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 Sara Diamond

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IN a full and frank interview…

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Sara Diamond goes into depth about her music career and spending time in L.A. I ask her about the time in California and whether it was an enriching process – and what the differences are between Montreal (where she is based) and L.A. She talks about the new single, Stay a Little, and what comes next – and whether there are going to be any U.K. dates further ahead.

Diamond discusses her childhood and how she latched onto music young; the artists and sounds she was exposed to – finishing by offering some great advice to new musicians coming into the industry.

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

Hey, Music Musings (or whoever, by name, is going to be publishing this)! I’m doing great on this lovely Friday morning. Coffeed-up and ready to go. My week has been lovely - I released my third single last Friday; so it’s been wonderful hearing people’s feedback throughout the week. Plus, sessions and as many fall (autumn) runs as possible...

How has your week been?

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

I started singing mannnnyyy moons ago…went back and forth between loving and hating it -kind of like dating.

But, I think we’re married now (weird analogy?). It can be tricky, putting your heart out on the line; making music that goes there. I’m finally getting to a place where I’m learning about the secrets I keep even from myself…so I’m implementing that into my music, which is really liberating.

On a non-music-related note: I LOVE space. It boggles my mind. Everything about the universe we live in…I also love red wine and going on hikes with my friends. Plop me outside and I’m a happy camper. I have a small tattoo on my right ring finger. My hair has always been super curly and I’m finally learning to love it (see picture below…).

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PHOTO CREDIT: Sara Diamond

I like giving gifts more than I do receiving them. My favourite colour right now is orange….AND…last thing: I love Friday the 13th.  

Stay a Little is your new single. Can you tell me what inspired the song?

I wrote Stay a Little right after my first heartbreak; literally right after.

It was kind of a long time coming…but one of those things you can’t imagine actually happening. I got into my bed; I looked out the window. It was 5:00 A.M. and the sky was just dark. I didn’t want to see the sun or the moon - because both meant acknowledging the truth of the situation. Last night we were together, tomorrow morning we won’t be ‘us’ anymore. The moment seemed to not exist; so I wanted to stay in that space.

In terms of the relationship; I knew every outcome would cause suffering. So, I just wanted to stay in one place and forget about everything. 

Do you think there will be other singles soon? Any E.P. in the pipeline?

Most definitely. Expect a lot more music. I’m just going to be getting it out there, constantly, and passionately.

Life is too short to not put music out.

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I believe you started singing when you were super-young. Singing on the children’s record label, KIDZUP; was that the moment you decided music was your future?

I remember being ten and knowing that I wanted to sing professionally. I mean, I was ten, so I only had superstardom (Hannah Montana 2.0, anyone?) as a benchmark…but the intention was there. It took many years, trial-and-error, to get to the place that I’m in right now…which is the belief that music is my present. If I carry out my life making the best possible present moment, music will be a part of my life forever - as well as all of the things that bring me clarity and joy.

Back in 2008, you told your parents you wanted to go to L.A. What was their reaction?

They kind of chuckled and didn’t think much of it.

I mean, I’m sure three-year-olds telling their parents they want to be famous is a regular and exaggerated occurrence. But, when I got the opportunity, they were the most selfless, supportive; compassionate parents - and they let me go, which I will be forever grateful for because they let me fly and then fall (with no judgment) - and now fly again, in a different way.

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PHOTO CREDITGrant Spanier

You did arrive there aged fourteen. Was it eye-opening experiencing the city at such a young age?!

It was definitely eye-opening.

I’m from Montreal, and to be honest, I was a very typical fourteen-year-old. I hadn’t been to a party or gotten drunk ever (aside from being tipsy at Passover…but that’s an exception, right?!). I didn’t wear much makeup and I, luckily, grew up in an environment where my peers were all supportive of each other. L.A. was, basically, the opposite…tons of stage moms with twelve-year-olds in full face makeup; dyed and curled hair at like 10 A.M. Tons of backstabbing; tons of gossip. I dealt with more ‘friends’ spreading rumours about each other than I thought was possible…and it was mostly career-driven. I remember getting snuck into an industry party and feeling SO uncomfortable when I was offered a drink (I mean, I was fifteen!). I think the most eye-opening thing was the realization that it’s the people that make life worthwhile.

I was doing some really cool things in LA but I was fifteen-years-old and 3000 miles from my friends and family, trying to be ‘famous’…and it really messed with me. 

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A girl-band formed and you experienced some ups and downs. Do you think, looking back, it was a positive experience? What did you learn from your time there?

It was 100% a growing experience which, to me, is a positive experience.

Everything in life is either a lesson or a celebration. Either you’re learning and growing or celebrating a moment of clarity. The girl-group, being in L.A., was really taxing on my mental, physical and spiritual health. I was a wreck - but it made me grow up really fast. I took that growth, which could have become destructive, and (just) let it happen with as little judgment as possible. Somehow, I was able to come back to Montreal and not think that I had ‘failed’.  I think that was the biggest gift. I was so miserable in L.A. that being home was such a success…I could be OK, again.

I think the biggest thing being there taught me was that music is therapy. I had nothing to write about because I hadn’t experienced anything, really. I grew up in a bubble. L.A. gave me that shake-up. Everything sort of spiralled downwards for a few years from there - which let me go into the pain and grow out of it. We see mistakes, pain and ‘failure’, as a bad thing: they are the complete opposite. They are the stories that shape us; the building blocks that then become a strong, resilient and beautiful castle.

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Montreal is your base. How does life there differ to that in L.A.?

We get four seasons in Montreal but L.A. gets the ocean and majestic mountains.  

I notice Canada is thriving in regards its music. Why do you think there is such a productivity and quality in the country?

I think, in recent years, more than ever, there is a pride that comes along with being a Canadian musician. It’s not something people feel the need to shy away from to ‘make it’ in the States (or anywhere else). It’s like, ‘no, we’re Canadian, and we have the same talent, determination; ability to connect as anyone else’. We want everyone to succeed. It took a few prominent people working extra-hard and passionately to break the status quo for everyone else. It really is a wonderful thing. Given the political climate in the U.S., other countries need to jump on every opportunity to show that inclusivity, connection; unity and peace are the most important things.

Above ‘making it’; above just about everything.

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What tour dates do you have coming up? Where can we all catch you play?

I’ll keep you posted.

Will you be coming to U.K. anytime soon?

YES! I don’t have a date set yet, but trust me, I will jump on any opportunity to come visit.

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

Amanda Marshall - Everybody’s Got a Story

I used to listen to it ALL the time with my mom when I was younger. I hadn’t listened to the album in full in YEARS….but my mom and I listened recently again and we knew every word. Looking back at it, I realized how much it shaped me as both a listener and a writer. Her honesty, story-telling ability; passion…it all pours out through her.  It’s fantastic…and Amanda Marshall is Canadian.

Justin Nozuka - You I Wind Land and Sea

That album got me through the toughest parts of L.A. I remember listening to it over and over (and over) again. I’ll always have a soft spot for it - purely out of thanks for helping me through those moments.

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PHOTO CREDITIX Daily

Frank Ocean - Channel Orange

Channel Orange was my first experience with music that resonated with me on an artistic level. He was so different - and his music captivated me from the moment I heard it. It really made me realize that you can bend the norms and still produce beautiful, relevant; catchy, honest music. It was a feeling more than anything else, and that really captured my attention, both as a listener and an artist.

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

Don’t get caught up in the hype.

There is SO much more to life than views and followers and branding. YES, those things are important, fun and part of the job but it is so easy to get lost in it. I’m like suuuuuuuper-up-and-coming and I still get caught up in it. As a society, we’re losing our connection to something greater- nature, community; human-to-human vulnerability…and music has the ability to bridge that gap, tap into that.

Fame is fleeting: life is even more fleeting. Enjoy every moment of it - even the 'bad’. That’s where you’ll learn the most. Thank your family and friends for guiding you - even if it was through anger and pain. They taught you strength.

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Read a book. Create music with people because they move you. Don’t lose sight of what makes you so perfectly imperfect - that is the zone you want to tap into. That would be my advice. Focus on being the best version of you and you will flourish…and your music will thank you.

Christmas is approaching. Do you all have plans already or will you be busy working?

I’ll be writing music and spending as much time up north as possible.

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).

Everybody’s Got a Story by Amanda Marshall (and if you want to be extra-amazing; post the lyrics, too!)

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Follow Sara Diamond

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FEATURE: The Harvey Weinstein Controversy: Do We Need to Protect Our Female Musicians Better?

FEATURE:

 

The Harvey Weinstein Controversy:

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IN THIS PHOTO: Harvey Weinstein/PHOTO CREDIT: Alberto E. Rodriguez/Getty Images  

Do We Need to Protect Our Female Musicians Better?

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THE worst and most upsetting details have been revealed…

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PHOTO CREDIT: Emily Berl/The New York Times

but we have not heard the end of Harvey Weinstein’s abuse and sordid goings-on. A number of high-profile female celebrities have come out claiming Weinstein sexually abused them – from stars of the screen to those in other areas of the entertainment industry. Musicians are coming forward, as are associates of Weinstein. Who knows how long it (the assaults/abuse) has been known about but it is a relief – if that is the right word?! – the truth is out there. His Weinstein Co. has fired him and his wife, Georgina Chapman, is leaving him. There are women who would stick by their husband and not believe the rumours. The fact she is leaving suggests she either knows what has been happening or has exposure to his true nature. All manner of reports are emanating from the press. There are articles abbot Weinstein’s sexual advances and how ‘bold’ he has been about it – supposedly propositioning women whilst his wife was in the next room. It is a brave move to leave your husband but she was in no doubt. Women are coming forward claiming Weinstein raped them and many others are detailing their encounters with Weinstein. I do wonder whether the details we are hearing tells the full story. One wonders why it has taken this long for women to speak out but there is a great sense of fear – thinking they will be judged and risk losing their careers.

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IN THIS PHOTO: Weinstein and his wife, Georgina Chapman/PHOTO CREDITREUTERS/Danny Moloshok

There are men in prominent positions who feel, because they have wealth of influence, they can treat women any way they want. One wonders whether there are other studio bosses and Hollywood men who have perpetrated such horrendous acts. The ongoing revelations around Harvey Weinstein will, in the end, see the man brought to court and losing the life he has built. I was thinking about this controversy and the fact it is not an isolated event. I have suggested there are other men in the entertainment industry whose (similar) acts have not yet been exposed. It is impressive so many women have come forward – who have built a career and risk reprisals – but I know there are similar concerns in the music industry. The issue of sexual abuse and exposure is not something that affects men in music – not in the same way at least. When news broke about Weinstein’s incidents; many noted how famous actors – who knew about these attacks/abuse – did not come forward. Is there a society of secrecy where, unless things are brought to light, people keep things to themselves?! There is no excuse for not speaking out but do actors, like musicians, fear personal misfortune and loss if they go forward? One can quibble the ethics and logic behind that but I have been looking into music and the recent case with Dr. Luke and Kesha. The court case was brought whereby Kesha claimed Dr. Luke was guilty of sexual assault and battery; sexual harassment, gender violence; civil harassment, violation of California's unfair business laws; intentional infliction of emotional distress, negligent infliction of emotional distress, and negligent retention and supervision.

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IN THIS PHOTO: Kesha/PHOTO CREDIT: Charles Sykes/Invision/AP

Kesha claimed Dr. Luke sexually, physically and verbally abused her throughout their professional relationship – it was said he raped her on two occasions and made threats to Kesha and her family. There are people on either side questioning the facts and what actually happened. Controversy and developments in the case – including Lady Gaga’s aborted resistance to a deposition – have made it one of the most talked-about music court cases in history. Some have suggested Kesha has intensified her accusations in promotion of her album, Rainbow. The record received huge applause and the revelations, feminism and emotional soul-baring throughout Rainbow stunned the press. One cannot rationally conclude Kesha fabricated anything and has been exaggerating for commercial gain – that would be hugely cynical and insulting. Whatever the eventual outcome; it shows music is not separate of controversy and abuse. Like Weinstein and the film industry: is music hiding secrets and harbouring sexual predators? Many think, because there is more money in the film business, there is going to be more cases like Weinstein’s. We do not often think of music and big bosses: it is usually about the artists and talent rather than the moguls and decision-makers. Hollywood is a bit different and we all know about the big studios and the fact they are (predominantly) run by men.

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IN THIS PHOTO: Dr. Luke/PHOTO CREDIT: Allen Berezovsky/WireImage

Music is, for the most part, run by men – the biggest studios and labels are owned and managed by men. You cannot say Weinstein and Dr. Luke are extraordinary cases and we will never see anything like that again. I know there would have been threats levied against the women that Weinstein abuse (allegedly) and it would have been terrifying keeping what happened a secret. Musicians and the industry are no different and I wonder whether we need to introduce stricter measures and great vigilance. Before I come to conclusions and remedies; I want to bring in a couple of articles. Noisey wrote a piece that looked at the Kesha/Dr. Luke case and whether we should start believing women and not scrutinising their version of events. There have been journalists and figures in society that pour scorn on artists that claim they have been sexually assaulted. It was interesting reading Noisey’s thoughts and advice:

We should be better than this by now; we should be working toward openly and vocally believing women. Kesha's case is a disheartening one to watch unfold because it's a real-time example of how hard it is to move in the music industry as a woman. Last year, then senior editor at Pitchfork and current editorial director of music at MTV Jessica Hopper compiled what is a book's worth of personal histories from women about how they cope with misogyny, abuse, and gaslighting in the industry. It was a much-needed catalyst and gave a large platform for necessary stories and experiences to be told. But with every instance of progress we see, there is a Piers Morgan to undermine it. Perhaps Kesha's case will become an example of the very precise and calculated ways men seek to control women, how they will protect their brands; Sony is in the interest of protecting itself and whatever the company's assets may be.

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 PHOTO CREDITGetty Images

Another piece, written by LA Weekly, featured the story of musician/author/journalist Jordannah Elizabeth – a rape survivor who was abused and victimised by different men:

I remember standing in a circle of girls in our local mini-mall parking lot talking about R. Kelly’s sex tapes. A couple of girls knew some girls who had been with him. This was in Baltimore in 2002, when the tapes had been made public, and I was nearly 15 years old. At the time, I didn’t think it could have been me because I wasn’t his type. I wasn't thin and didn’t have the hint of innocent glamour that he apparently liked. Besides, being chosen by him at a concert was furthest from my mind. I was still a virgin and was concerned with other things, like hip-hop and Nirvana and Red Hot Chili Peppers. At 15, I knew Kelly wasn’t my type, either.

When you’re a black girl or woman in towns like Chicago, Baltimore and Atlanta, the existence of R. Kelly makes you think seriously about sex, and what you’d do if you knew a girl who’d fallen for him. It makes me personally think of Aaliyah, and all the black girls who came into the industry around her age and the producers who put them on, and how it could have been me.

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IN THIS PHOTO: Jordannah Elizabeth/PHOTO CREDIT: Breck Omar Brunson

Actually, it was me. I was sexually assaulted in Harlem by a man who was well-connected in the music industry and offered to “start me out as a model” to gain exposure for me while we began to develop my music. I’d seen him all over TV, so he seemed legit. I agreed to meet with him.

I was in my early 20s, dressed in a short dress and high heels. I took a car to Harlem and waited in a Dunkin Donuts until he picked me up and took me to his grandmother’s apartment a few blocks away. As we walked together, he seemed to know everyone in the eighbourhood. His friends looked as me as if I was familiar. I noticed their glances and I could intuit that I was seen as “another one.”

These are a couple of articles that have been published in the past couple of months but there are others that look at labels like Sony and whether they are hiding details of sexual assault and abuse – their top bods culpable of assaulting female talent through the years. Sexual assault and abuse is nothing new in the music industry. I feel there is more vocal outrage and support in the film industry – when the likes of Weinstein are sussed and exposed – than there is in the music industry.

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IN THIS PHOTO: Lady Gaga (who has suffered sexual abuse during her time in music)

Women are being bastardised and reduced to meat; made to feel worthless and at the mercy of wandering hands and loose tongues. We know women in music who have been raped, assaulted and drugged. It is not a new sensational so why are these cases still coming to light?! I hope the Weinstein case gets people thinking about the music industry and entertaining the possibility something similar could be lurking in the seedy undergrowth – a prominent figure waiting to be called out and brought to justice. The fact the guilty parties tend to lose their livelihood and fortune is wonderful but it does not undo what they did and the types of acts they have performed on women. Amber Coffman, of Dirty Projectors, spoke to The Telegraph about her experiences:

We have to open our eyes to how serious this problem is and how deep it runs. It is an epidemic,” says Amber Coffman, a 31-year-old musician who has worked with the likes of Snoop Dogg, Major Lazer and J. Cole. Last month, she tweeted about the sexually inappropriate behaviour she had been put through by a prominent music PR, Heathcliff Berru – and found numerous other women coming forward to share stories of how they too had been mistreated by him.

“The amount of women who came [out] privately with their own stories after Heathcliff's actions were exposed was staggering,” she says, particularly given that “the amount of stress induced in coming forward about one's experience with abuse, and the amount of risks involved in doing so are enough to keep most victims silent for their entire lives.”

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 IN THIS PHOTO: Amber Coffman

Berru responded to the allegations by resigning as CEO of Life and Death PR and releasing a statement saying that he was “deeply sorry for those who I have offended by my actions and how I have made certain women feel," adding that he had been“fighting a losing battle” with drug and alcohol addiction, for which he would seek help. The company folded soon after.

Coffman, a singer and guitarist with band Dirty Projectors, knowsthat strength in numbers was imperative in getting resolve.

“Even if women are supported and believed, as it was with our case, it is a very heavy load.

“It's extremely taxing on victims emotionally and psychologically…so it's understandable that some don't feel they can take that on. Add that to a scenario where a woman also doesn't feel safe coming forward because she…fears losing her job or being ostracized and it's much, much harder”.

The articles and interviews I have sourced are a sprinkling and do not really tell the full story. I feel we need to put in measures whereby those suspected of abuse are provided harsher punishment and banned from the music industry. If the allegations are true then they should have no place in music! Female artists should be free to express themselves and revealed the truth – without getting a storm of crap on social media and being ignored...

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PHOTO CREDIT: Reliawire

How many cases do we have to read about before something is done?! Women need to feel secure and safe coming forward and talking about their experiences. When these allegations are made; they need to be followed up and investigated properly. If it means a truncated court case, then so be it! If that is the cost we have to pay to see perverts and abusers prosecuted and asked to explain themselves then that is what needs to be done! We cannot overlook any reports and incidents when women tell their stories. Harvey Weinstein will be dealt with – and is already seeing his empire collapse – and Dr. Luke’s reputation has been given a severe beating. How many others are getting away with things and free to molest, abuse and attack with impunity?! It is alarming considering, on a daily basis, how many women are being assaulted. Whether it is a studio boss/record label owner raping a star or a fellow musician touching a woman without her permission – it all needs to stop and be brought into the light. If we have to see another case of a female artist abused and assaulted then it proves we have learned nothing and not protected women adequately. I hope something can be done before that occurs but I do fear the music industry is not protecting female artists and are…

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MAKING making them vulnerable to abuse.

TRACK REVIEW: Johanna Glaza - Space Mermaid

TRACK REVIEW:

 

Johanna Glaza

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PHOTO CREDIT: Agne Monti

Space Mermaid

 

9.2/10

 

 

Space Mermaid In is available via:

https://www.youtube.com/watch?v=s6j7sI4T7IU

GENRES:

Ambient-Folk; Baroque-Folk

ORIGIN:

London, U.K.

RELEASE DATE:

3rd August, 2017

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The album, Wild Sculptures, is available from:

https://johannaglaza.bandcamp.com/

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IT is good to return to London and Folk…

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PHOTO CREDIT: Willie Nash

because, for the past few days, I have been looking at international artists are all manner of genres. I will cover a bit of familiar ground when speaking of Johanna Glaza but, thinking about her song, Space Mermaid, there is plenty to discuss. Her L.P., Wind Sculptures, is a vivid and candid album that experiments and takes you to new places. It is rare finding artists that deliberately challenge conventions and create something genuinely new. For Glaza, there is a sense of going beyond the accepted and bringing her music forward. There is something beguiling and beautiful about the music but there’s a familiarity, too. I have been looking back at Folk and the kind of variations we find in the genre. It is hard to reinvent a genre like Folk but there are artists who are taking it to heart and creating something meaningful to them. Johanna Glaza is someone who does not produce stilted and calm music – quite relaxed without much physicality and spirituality. What she does it recognise the genre’s foundation and sprinkles her own personality and produce. I have been a bit reluctant to feature Folk artists who do not put much energy into their work. It can be hard offering any passion and insight if the music is pretty chilled and one-dimensional. There are too many artists doing this so it means Folk gets a reputation as being a bit wimpy and boring. If you look hard enough, you’ll find that is not the truth at all. This year has seen artists take Folk as a base and bring other genres into the mix. There is a difference between traditional Folk music and the more modern variety. If one listens to Folk shows on the radio and you will get the kind of music I was talking about – it is pretty to listen to but it can leave you a bit fatigued at the same time.

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PHOTO CREDIT: Agne Monti

I listen to those shows and hear a lot of shanties and pastoral Folk acts. That is already for some but I feel you need to be of a certain age to enjoy it. For younger ears; one seeks a sense of endeavour and invention – a spark and sense of imagination that transcends beyond the quirky and dull. Johanna Glaza is an artist who appreciates where Folk has come from but is keen to drive it forward and provide something sizzling. She does this by clashing bracing and immediate sounds with mythical and poetic lyrics. I have just got through reviewing Robert Plant’s new album, Carry Fire, and can see parallels between that and a song like Space Mermaid. Plant, on his album, produces his traditional sense of the mystic and spiritual whilst throwing in different sounds and cultures. It is a busy and engaging album: taking the head somewhere special and ensuring you come back for more. That is the same with Glaza who provides symbolism and gives her voice to the wind. Some might turn their noses up when mentioning elements of nature and the physical world. One does not need to be a devotee of Folk to enjoy what Glaza is putting out there. She mixes in the base and roots of the genre but stretches it out and brings a spectrum of sounds and colours. Maybe it is not ‘Folk’ because it is such a broad and new sound. I will explore the music more, later, but I am excited to investigate the lyrics and themes explored by Glaza. When I look at what she concentrates on – water and snow; wolves and goddesses – it reminds me of Kate Bush. Maybe she is not a direct influence but it is hard to escape the spirit and body of Bush in the music. I am writing a piece about Kate Bush and her debut album, The Kick Inside.

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PHOTO CREDIT: Agne Monti

The record is forty next year and I am keen to explore it in depth and how influential it is. Not that this review is a chance for me to self-promote and indulge but I can hear traces of The Kick Inside in Glaza’s work. Later works – like Hounds of Love and The Sensual World – explore spiritual elements and the natural world in more depth than the debut; it is intriguing seeing Bush’s trajectory and the themes she tackled in later works. It is the debut that seems to have started everything (obviously) and, whether modern artists confess or not, an album of enormous importance. I feel there are few modern artists who appreciate the importance and relevance of artists like Kate Bush. There are those who source from her but a lot of mainstream artists forsake her. If one listens to the sheer captivation and mesmeric sound of her debut then you will see so much room for interpretation and modern projection. In a world that is becoming more fraught and unsure by the day – there is a sense of escapism and purity in what Kate Bush sings about. I am not sure whether Johanna Glaza realised that but there are definite familiarities when I look at her lyrics. Vocally, they are different acts but it is the words that really stand out, for me. Before I come to look at other avenues – including Glaza’s nationality and base; staying human whilst exploring more extraordinary and flighty themes; making the music breathe but evocative; female artists and their importance right now; the personal relevance of music and evolving a career – I will finish off this segment. I am interesting seeing the split between artists who keep their words inherently personal and basic and those who go the other way. I guess, to connect with the listener more urgently, there needs to be familiarity and accessibility. It can be hard crafting music that separates from the pack but attracts people. You do not want to alienate but, at the same time, want to be seen as innovative and unique. That is what one gets from Johanna Glaza and her music.

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PHOTO CREDIT: Willie Nash

This is not the first time I have featured a Lithuanian-born artist – the last one escapes me – but I am seeing a lot of artists come to the U.K. There are parts of the world that have some form of a music industry but not as solid and promising as it is here. Glaza has been raised in London but knows how important her home is. I wonder how much of the landscape and people of Lithuania Glaza brings to her music. I think of the nation and get a sense its geography and topography is more alluring and scenic than in the U.K. By that; one would see panoramic visions and a mix of the old and new worlds. We have some spectacular views in Britain but I feel Lithuania would surpass them. Maybe I am wrong but I can hear a link to her past and childhood. It is rare discovering musicians who bring fantasy and nature into their music. Comparisons have been made between Glaza and modern acts like Joanna Newsom. I can see that and there needs to be more vocalisation and promotion of acts like that – who stray from the mainstream and produce something different. I wonder what brought Glaza to London but I am not surprised she is here. I keep saying I’ll get away from the capital when it comes to features but there is a definite lure for new artists. The city provides the energy and opportunities many seek; the community and network to help get the music to the masses. Maybe there is a calmer and less stressful vibe elsewhere in the U.K. but London is the beating heart of British music. I am sure Glaza will find a lot of potential here and will continue to see her career grow. One hears Glaza’s new music and can see the development and evolution from the earliest days.

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PHOTO CREDIT: Agne Monti

Although Glaza has not been in music that long; she has created a series of songs and records that showcase her full range and personality. What I have found is more confidence and bravery come into the music. There are flighty and wondrous moments alongside raw human emotions. I am listening to sounds from Letter to New York and Paper Widow and comparing them to Wind Sculptures. In terms of her artwork; there is that dependence on blue hues. The tie to the sea and sky is indelible. In everything she does; Glaza carries the world with her. If her themes and dynamics remain firm; it is the vocals and lyrics that get bolder and more arresting. Her voice has strengthened and taken in more emotions since 2014 (when those early releases arrived) and, on her latest album, one hears a performer who can be compared with very few. Reviewers have noticed how stirring and unconventional Glaza is. That has come from her music background and the backing she has already garnered. Every time her music gets a great reaction; Glaza will up her game and keep expanding her horizons. One hears that come through in her latest L.P. What I find is a song like Space Mermaid, in title and sound, nods its hat to acts like David Bowie. It is easy detecting an element of his eccentricity and innovation in the song; some Joanna Newsom and the beauty of Kate Bush. The music of Johanna Glaza is breathy and emotive but it has openness and expansive horizons. So many different concoctions and scenes are infused in every line. Some might say music that looks at the wind and weather sounds a bit kooky and niche – it will not appeal to that many people and has quite a divisive aspect. I would disagree and feel music needs to push the envelope and start highlighting artists like Glaza. There are so many average and ordinary artists that do not compel the imagination and make you come back for more.

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PHOTO CREDIT: Agne Monti

I will come to the latest track from Johanna Glaza but wanted to explore female artists and their importance right now. We have seen some scandalous and troubling scenes emanate from the news the past week or so. It might seem weird bringing Harvey Weinstein into a music review but the Hollywood mogul has been condemned and attacked (rightfully so) because of the allegations levelled at him. He has been accused of rape and sexual assault and we are seeing a wave of actors come through – detailing how Weinstein attacked them. It is harrowing seeing how deep it runs and the scale of the crimes. Who can say how long it has been going on but there are surely going to be more revelations in the coming days. In music, one feels there is more security and less trouble in this area. I am not so sure and feel this case should act as a warning to those in music. We need more vigilance and greater care when it comes to protecting female artists. I find myself angered by the gender imbalance in music and how little safeguarding there is when it comes to women. I cannot say with any confidence there is an epidemic of sexual assault and scandal in music but I do know there are women who have remained silent – afraid to come forward through fear of recrimination and judgement. We cannot promote industries that allow this sort of thing to happen. The repercussions in the Weinstein case have been instant and severe but there is no telling what more is coming. In terms of music; women are not afforded the same opportunities and protection as men. I raise the point because this injustice extends to the music itself. It is bad enough female artists are subject to horrific discrimination and assault but, as I have said often, they are not allowed the chances men are. This extends to festivals and being afforded exposure at big events. Whether we can redress this imbalance sufficiently remains to be seen but we cannot go on and ignore what is happening behind the scenes.

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PHOTO CREDIT: Agne Monti

Music is no more holy and safe than acting. I worry female artist have to compromise too much and being exposed to the worst sides of the industry. I will write about this in more detail this weekend but find it troubling we have to hear so many disturbing testimonies. Music needs to be aware of what is happening and ensure we do not have any Weinstein-level examples. Artists like Johanna Glaza are talented and immensely promising so should not have to get to the mainstream by exposing themselves and being controlled by men. I fear there is a wave of female artists who have to subject themselves to some degrading and horrible things in order to get their music heard. Let’s hope this is a rarity but there is a part of me that feels things are more widespread than we can imagine. I will move on but want to look at the personal relevance of music and how emotive acts like Johanna Glaza are. Every note she sings seems to mean something and has a relevance to her. Even when she is singing about mountains and the wind; one knows these elements have a connection to her. Many might assume these subjects are the stuff of fantasy. Glaza uses elements and nature as metaphor and symbols. She is big on symbolism and what nature means to her. She gives her heart to the world and has an intuitive bond to everything around her. I come back to Kate Bush but many artists are bravely singing about less traditional themes because of her. Glaza might not have had the inspiration and fortitude to talk about what she does were it not for Kate Bush (or Joanna Newsom). I am hooked and drawn to songs that take us through the heavens and across the landscape. There is dreaminess and pleasures; a scintillating buzz and electricity that comes from the music – hard to ignore and be passive towards.

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PHOTO CREDIT: Agne Monti

I want to move onto the song now but, before then, a final word on recording techniques and sound. On Wind Sculptures; Glaza has embraced the radiophonic techniques and analogue tape-based method - which gives the album a warm, timeless sound. It is unusual seeing an artist ignore the digital and modern and proffer the benefits and brilliance of analogue. I guess there are artists doing it but there are more who want something polished and clean. If Glaza’s music was to rely on the digital; it would not have the same sense of entrance and purity. That need to retain what is true and meaningful is paramount to her. Digital recording would have tampered and distilled the essence of her music. One hears a real sense of engaging and atmospheric. This should act as guidance to artists come through who yearn for the studio and stuffing as much technology towards it as they can. I am worried many think having a fancy studio and gadgets means their music will be better and more professional. This is not the case and it means we get so much faceless and tepid sounds. I feel most artists should produce some music on analogue equipment and see the difference. I listen to musicians like Glaza and know she is not like the rest of music. Her ethos and personality are rare and that, I feel, needs to be exposed more. If music is going to grow and inspire then we need to get away from the mainstream and Pop-driven market and start exploring artists that do things differently. All of these components and strands fuse perfectly in Space Mermaid. It is a song that gets into the head and takes the soul somewhere special. I was eager to investigate and see why so many other sources have been proffering the song with fervency and passion.

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The opening seconds of Space Mermaid are tripped and tempted. There is syncopation and tip-toeing as Glaza presents her words as if she were sneaking through the house at 3 A.M. The delicate yet provocative delivery asks whether we should learn to breathe under snow and water. One can hear these words and think one of two things. Perhaps there is illusion to global warming and the fact that reality might be nearer than we imagine. Nobody knows when things will crack/melt but it is not a far-flung possibility. Maybe there is a sense of the romantic and swimming through the waters; two hearts beating together and getting away from the world. Instantly, one is put in a colder and more arresting place. You listen to the song and envisage the heroine moving through melted snow and water. There is a distinct twang and cadence to the voice that affords the words an extra sense of magic and mysterious. Comparisons have been made to Joanna Newsom and one can sense a bit of that in Glaza’s voice. There is that same accent but one could say that is true of other singles. What Glaza does is showcase her own sounds and flavours. You get a real individual flair and tantilisation from a singer-songwriter who is finding her voice and venturing into new territories. In the early stages of Space Mermaid – and the oddity of that title – we get some rather strange and wonderful lyrics. The cat, it seems, the cat proposed how this world is “just an experiment”. That question is directed at the sky and, already, one is engaged in something very peculiar and irresistible. Few writers can pen words like that and make them sound essential and sensible. There is a wisdom and child-like innocence to the lyrics but a sense of caution that runs through the veins. The gods have no place in the sky and, when trying to uncover the truth about the words, your mind is taken in different directions.

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PHOTO CREDIT: Agne Monti

Every line is delivered in a different way so that there is constant movement and unpredictability. “I go back home and you’re not there” is a line that invites images of loneliness and abandonment whilst Glaza’s yearning for a miracle suggests she is hankering after a connection a sense of definition. Maybe she has lost who she was and is looking for ballast. Few can deny the emotion and beauty of the lyrics and the original presentation. So many different twists and turns come from the song; you have that physicality and authority from the musician – the listener is free to interpret how they wish but everyone will have a different view. Glaza walks into the green nettle sea and is taken back to her childhood – a time-machine that seems to cast her back to fonder times. You might get a sense of defeat and suicidality but there is a need to reclaim a degree of safety and lack of responsibility. Maybe the heroine is finding things tough and wants to get back to a time when life was easier. As she steps towards the waters; the cascading voice and wordlessness get into the skin and projects images. The heart is stone and one feels the need to reach forward and protect the heroine. The piano is kept light - but wields influence and stir throughout. Few other elements exist apart from the piano and voice. Maybe the lyrics do not possess as much clarity as you might think – making more sense to the author – but it is interesting guessing what might be behind the words. I cannot get over how sensual and arresting the voice is. I have used those words before but they seem apt for someone who manages to get into the mind with only a few utterances. It is amazing seeing how Glaza weaves patterns and takes care when singing. Her own lexicon and direction mean few others will be able to reach the same heights as Glaza.

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PHOTO CREDIT: Agne Monti

Eventually, percussion does come in and there is a bit more heat and strike. The song naturally progresses and grows as time marches on. The heroine is no fool, as she repeats, and is not going to be taken advantage of. There is never a sense of being beaten and giving up on life: the need to fight and be heard is evident and loud. Whilst Glaza never shouts the words; she does carry huge weight and passion at every turn. The song teases and confounds; it spikes the mind and one is always left guessing where the lyrics stem from. I got the impression the heroine was suffering a break-up and was struggling to cope with how things have unfolded. Many artists would provide such simple dialect and cliché when speaking about relationships. Instead, we get something deep and unique from someone who has a lot more to say. Wild Sculptures is filled with similar quality and unique flair but I find Space Mermaids to be the perfect starting place. From the first moment to the flickering embers; it is a compelling song that makes the listener stand to attention. You will come back to the track as it is quite a lot to take in upon the first listen. There is so much working away and the mind will interpret the lyrics and get to grips with the layers within the voice. I am not surprised Glaza has been granted so much love and support from journalists following the album’s release. I hope she carries on strong as the music world needs more people like her. It can be difficult discovering true gems but, when it comes to Johanna Glaza, she is no fake: the real deal and someone whose values and importance will continue to climb as the years unfold.

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PHOTO CREDIT: Agne Monti

From her early days fronting the band, Joanna and the Wolf, there have been developments and changes in the life of Glaza. She left them in 2011 and moved to New York – where she began recording songs for her solo career. Coming from Lithuania and then finding your way to New York must have been quite eye-opening. She did not instantly go from one to the other but the sheer scale of New York would have been strange for someone who was born in a completely different space. Being in London; Glaza is used to the city and the endless rush that comes from it. I hope she remains here and continues to record. The E.P., Silence Is Kind, come out in late-2013 and got the music to the masses. More and more people tuned into her sounds and became familiar with a very special artist. One can hear bits of Joni Mitchell, Joanna Newsom and Kate Bush in Space Mermaid and, when you dig into Wind Sculptures, there are so many different aspects working away. Songs range from piano-led (Million Years) to the bold and heart-wrenching Home. Different instruments come in and there is hardly anything predictable about the record. You can discover glockenspiel and bass; there is piano and rousing percussion; tender infantile and bold sexuality. Throughout the record, that sense of being connected and blended with the natural world is evident. Johanna Glaza’s existent can be solitary and frightening but she never makes the listener feel alienated and scared at any point. The music brings you in and one instantly bonds with the songs. Glaza calls the record “the edge between raw and beautiful” and does not hide away from the people – the songs are not drowned in the comfortable, sparkly and superfluous. As she describes it: “If it started to feel too comfortable, or sparkly, I took a step back and stripped it off because I know it wasn’t good enough for me.”

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Wind Sculptures is a personal album that demands one listen to it through headphones. The music draws you in and it has such intimacy. I am excited hearing what comes next and whether there will be more albums down the line. It appears Glaza is growing in stature and there is a definite foundation of support. Glaza spoke to Hoxton Radio a couple of days ago and promoted her new album. There are plenty of ears and prominent sources keen to espouse the benefits and joys of her music. I am sure this success will continue as we head into 2018 and I would like to see the music go even further. Maybe there are gigs further north because there are many who would love to see her play. The reviews (for Wind Sculptures) are positive and many note how ambitious her music is – reaching far and helmed by that gorgeous and hypnotic voice. This is no small feat for a debut album and that stands Glaza in good stead. I imagine more music will come and subsequent records will reach even further. I will leave things now but know Johanna Glaza will grow stronger and reach even more people. She has spent time in the U.S. and this is a market she could return to. Maybe there are few like her in areas like New York but songs like Space Mermaid do not rely on demographics and location: they are universal and get into everyone’s hearts. I have been blown away by the song and, whilst I could not find time to review all of Wind Sculptures, I can attest to the brilliance of the music. Such a thrilling and unusual album from an artist who has many more years ahead. Those who want to find something that goes beyond the ordinary and causes gasps and wonderment should spend some time…

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WITH Johanna Glaza.

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INTERVIEW: JonoJosh

INTERVIEW:

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  JonoJosh

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I cannot think of another artist who can say a woman’s…

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battle with terminal cancer is the inspiration for their latest song. One Thanksgiving; JonoJosh received a call out of nowhere, asking if he could offer anything (a song or prayer) for the dying woman. She had been given mere weeks to live. Not only did the song reflect that sense of sadness and loss – the woman in question survived a further two years – but it took on new meaning down the line. The Canadian songwriter talks more about the song, Chance, and whether there will be new material soon.

I ask him about future gigs and some of the musicians that have been instrumental to him; some fellow acts he recommends – and why Canada’s musicians are, right now, among the finest out there.

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

This week has been amazing. Thanks for asking!

It’s been thick with studio time - which is my favorite place to be. We've been making some stuff that I'm really excited about. 

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

For sure. We like to call our music ‘Soul-Pop’. It has influence from Gospel, Jazz; R&B but, most importantly, it comes from the heart. Really, our music is art reflecting the world, reflecting art. So, we try to tell stories that may not have been told; give light to ideas that people can relate to.

Whether that means making a track that is meant to make you dance or a track that's meant to make you cry - either way, it's meant to do something.

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Chance is your new track. Are you excited it is complete and what do you hope people take from the song?

So excited about it...

Chance is a song about hope. I wrote chance as a prayer, originally, but now I see it more as a mantra. When I listen to this song, it inspires me to fight for things that are important to me - and I hope it does the same for those who listen to it.

I know there is a rather tragic and upsetting tale behind the song. Can you explain where the inspiration came from?

A couple years ago, during Thanksgiving, I got a phone call asking me to pray for this girl who is in her mid-thirties who had just been diagnosed with cancer. My friend told me that this woman only had two weeks to live.

Not knowing this woman, personally, I didn't know what I could do - so I wrote this song. In reality, there are a lot of things that we can do. We can donate to research; we can go and be with the people who are patients. So, this song is about inspiring us to not give up.

The girl who was given two weeks ended up living for two more years.

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Chance was completed four years ago – its inspiration passed and its meaning took on new music. Did the tragedy affect you so much – that’s why it was delayed – or did the song need time to evolve and breathe?!

I think the interesting thing about music is that you don't know the effect that it will have on people...

I wrote this song hoping it would help me understand and cope with death and, although I did share it with the family, it felt like a very personal process. But now I think, looking into the world, there are a lot of things worth fighting for that we, as a human race, need to give another chance to - which means that this song is no longer meant to be a personal song: it needs to be heard by anyone who needs another chance.

It took me awhile to realize that.

The video for the song has been completed. Can you reveal a bit about the storyline and what it was like filming?

Because the song is all about supporting each other; I thought it would be poetic to have contact improv. be the basis for the music video. Paul Barton and Jen Li are such amazing artists. Jen’s vitality has always inspired me. (Side note: you should definitely check out Paul’s E.P.). Paul is mainly known for being a producer/musician (he helped produce Andi’s projects) but a lot of people don’t know that he has roots in the Dance scene, as well - so they were my first choice. 

Now for the story of the music video…. 

When conseptualizing this video, I sat down and I realized that most important thing I had to do was convey a feeling of hope. So, having that as basis, I decided to focus on shots that portrait people reclaiming energy from the world - whether it is nature or physically leaning on someone. So, that immediately meant that the backdrop was going to be its own character.

When talking about the location; I knew that I had to use this green space - because there is currently a fight going on for its right to exist. The Castlemore community had an event last weekend raising money to hire a lawyer to keep that area green - and I felt it would be the most fitting to sing this song with that backdrop. The filming process was shockingly easy I mean yes we did have to trudge through some pretty deep woods but I think it was worth it.

The shots that Samuel Dass took were exactly what I was hoping for.

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Do you have plans for an E.P. or album in 2018?

We do.

We are currently finishing up a couple more tracks and are hoping to release them very soon. We will be calling it The Freaky Adventures of the Groove…so keep your eyes peeled for that!

How would you say your music has changed since last year’s Change EP? Are you a more confident writer or are you taking in new inspiration?

Being a writer is such an interesting thing because you never fully know when inspiration is going to hit: you just have to write the second that it does and sometimes you have to write - even if it doesn't. This year, I started a songwriters’ night - which artists like Andi, Landon Abram; Flash Teeter and the Men from Mars and one my favorite producers, Sebastien Valiente, attends.

The biggest thing we learned from doing that was that, even if you don't write something great; when you're trying to; sometimes the act of trying to will bring inspiration later. We have written...I have no idea how many songs during those nights this year…and quite a few of them have already been produced by different artists.

I am ecstatic to see what comes of them...

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Andi is a songwriter we are both familiar with – I have interviewed her. Is there going to be a collaboration between you two?

It's actually quite funny you ask because Andi just finished my album-art for the E.P. - that Chance is going to be placed on. I am a massive fan of Andi and I am sure that someday soon, in the future, we will release another song together.

But, for all those waiting, there's still Caffeine and Take Down Your Guard available on Apple Music!

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Canada is where you are based. What is the country like for a young musician? Is it a good place to develop and showcase your music?

I think Canada is one of the best places to make music because it is a melting-pot for style and originality. Not only that, but there is a sense of camaraderie in the music scene (in Canada). I have had the privilege to perform coast-to-coast and, although all the bands are very different, they all shared that same sense of camaraderie.

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IN THIS PHOTO: Andi

Which new artists do you recommend we check out?

There are so many artists that I am a big fan of from Canada - but not just Canada – and from around the world.

Oh goodness…where to begin: Andi, Paul Barton; Moonhead, Monowhales; Unbuttoned, Casey MQ; Tamara Madison, Allie; Bassline...

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IN THIS PHOTO: Tamara Madison

What tour dates do you have coming up? Any U.K. dates coming up?

I miss performing in the U.K. so much: I would love to be back.

Currently, I am in rehearsals for Grease Toronto starring the amazing Janel Parrish, Dylan Wallach and Katie Finlay (opening November 9th). The fly-crew is currently planning some shows for early next year.

So, fingers crossed, we can cross the pond!

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

Will.i.am - Songs About Girls

That album was so ahead of its time. Now, I keep hearing songs that rip off that album - and no one has a clue. 

Son Lux - Weapons (E.P.)

I know it's just an E.P., but I have to say it, specifically because, Son Lux reinvented the same song so many different ways - and it left you at the edge of your seat the entire time. It's definitely a huge source of inspiration.

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Lianne La Havas - Blood

Every song on that album takes me on a journey that I want to relive the second I'm done listening to it. 

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

Write, write, write.  

Even if things don't go well the first or tenth time: keep writing. Your art is yours to choose. Don't be defined by cultural definitions of what your music should be. Tell the story in your heart. 

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Christmas is approaching. Do you all have plans already or will you be busy working?

Christmas is my favorite time of year. My birthday is the 23r December, so that whole week is usually a never-ending amount of music and dancing. Last year’s Christmas, I had the privilege of working with the Pinball Clemons Foundation - to raise funds to build schools in communities that need them. Me and a few other artists got together and made an album to support the cause (What I Love About Christmas is available on iTunes). 

So, here's hoping I get to be a part of something like that again this year!

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).

Tamara Madison’s SELDOM - which I also happen to be listening to right now!

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INTERVIEW: Pale Seas

INTERVIEW:

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PHOTO CREDIT: Hollie Fernando  

Pale Seas

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SOUTHAMPTON’S Pale Seas are being tipped as…

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PHOTO CREDIT: Denis Forkas Kostromitin

one of the most exciting and unique British guitar bands around. The group – with a line between words; a real bugger to get right on a computer – talk to me about their anticipated album, Stargazing for Beginners. Jacob Scott (singer and guitarist for the band) fields most of the responses and talks about the band’s development and why the band fell off the radar – just as things started to get exciting for them. I ask Scott about the influences of Pale Seas and what is coming in the approaching weeks; whether we can catch them on the road – and how it feels knowing the album is out there.

Someday, the latest single, is out there so I ask what it is about and what it means to them. The band select songs and albums that hit them hard; Scott explains which new artists we should investigate – and what it was like working with Chris Potter and Paul Butler.

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

Hey. We’re really good thank you. It’s been a great week so far.

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

So. My name’s Jacob Scott. I sing and play the guitar. On electric guitar, we have Graham Poole; on bass is Matthew Bishop - and on drums is Andrew Richardson.

We play music together in a band called Pale Seas. 

The lyric video for Someday is out. Can you tell me about the song and what inspired its creation?

Someday was written over a two-year period and we probably demoed it more than any other song on the record - around one-hundred times in total. It was recorded in three different studios before we finally felt we had the right version - in a medieval abbey on the Isle of Wight.

At its core; it’s an attempt to free myself from the pain of losing someone that I loved - and the struggle I had to accept: the reality of day-to-day life after losing them.

Stargazing for Beginners is your long-awaited debut album. Has it been fun putting it together - or was it quite a challenge?!

I personally would have felt pretty strange if it wasn’t a challenge: it’s one of the things I enjoy most about writing music. In my own experience, the music I like most - and the work I am proudest of creating - has been suffered for.

It doesn’t come easy and there’s always been something quite dark about the thrill of writing those kinds of songs for me.

I believe you were due to release the album a while back and went off the radar. Why did you guys disappear, as it were, and delay the album?!

We wanted to try and make something great - that’s all that’s ever really mattered to us. I feel very proud of us all for making the record we have but we’ve never seen getting an album out as an achievement.

it just had to be great to us...

Does now feel like the perfect time to release it? Do you think the hiatus has been good for your music?

Having the time away has allowed us to create something that reaches the level we set in all of our heads when we first started playing music together. I wouldn’t change a single note on this record. We don’t really pay much attention to how long it takes because people don’t know how long it’s taken when they’re listening to it - they just know if they like it or not. There was no great pressure for a Pale Seas album to come out.

To us, the pressure was making sure that when it did, it was special.

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 PHOTO CREDIT: Hollie Fernando

The sounds running through the album is quite dark and deep. How much of that is down to producers Chris Potter and Paul Butler?

I think it needs to be inherent in the music in the first place for it to be enhanced...but, what both Chris and Paul do wonderfully well is frame and define the songs. They have an unbelievable instinct for the scale and emotion too: it just flows through them both.

We love them both so much.

What defines the songs on Stargazing for Beginners? What sort of moments and themes compelled the music?

I think (I thought) if I could show, someone, how much I loved them that they might come back - that’s what I thought this record could do. It’s a document of the way I thought I was navigating a period of my life, but in reality, I had absolutely no control whatsoever.

How did Pale Seas come together? When did you all hook up?

Graham, Matthew and myself met at college in Southampton and Andrew, we met on our first-ever night on tour playing with another band (several years ago). I remember all three of us were watching him play and he was hitting the drums so hard that his kick -rum was moving across was bouncing across the stage.

He had to keep on wrestling it back in time for the chorus…it was incredible.

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Give me an insight into the artists you were all raised on? Which musicians and albums did you grow up listening to?

Jacob: There we so many people that influenced my taste when I was little. My mum was, and still is, huge on Marc Bolan and T. Rex - and my dad used to take me to see Dinosaur Jr. whenever they were over here. He turned me on to the Dead Kennedys, The Lemonheads; Nomeansno etc. My grandad used to play me a lot of Eddie Cochrane and Gene Vincent in the car, too. I used to go crazy for that stuff. I remember my uncle was very into Leonard Cohen, The Cure and Van Morrison, as well.

Graham: My mum grew up in Liverpool in the 1960s so there was a lot of The Beatles and The Hollies in the house, too. Then, I got into playing guitar - so it was nothing but Jimi Hendrix for quite a while.

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Do you have any future gigs planned? Where can we catch you play?

We’ll be playing our biggest run of shows to date in November:

Thursday 16th - Leicester - The Sound

Friday 17th - Manchester - The Deaf Institute

Saturday 18th - London - Paper Dress Vintage Bar & Botique/London in Stereo

Thursday 23rd - Brighton - The Joker

Friday 24th - Sunderland - Independent 

Saturday 25th - Leeds - High & Lonesome festival

Saturday 25th (late) - Middlesbrough - Westgarth Social Club

Sunday 26th -  Nottingham - The Bodega

Wednesday 29th - Birmingham - The Sunflower Lounge

Thursday 30th - Glasgow - Hug and Pint

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IN THIS PHOTO: Goat Girl/PHOTO CREDIT: Charlotte Patmore

Who are the new artists you suggest we check out?

Alex Burey would probably be top of my list. He writes the most beautiful, delicate; soulful music I’ve heard in years. I’ve fallen in love with every one of his songs...a very special guy.

Goat Girl are really exciting, too (lovely people, as well).

The new Gengahr tune, Carrion, is also really great.

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IN THIS PHOTO: Genghar

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

Jacob: It would be Gene Clark No Other

it still leaves me speechless - and I’ve listened to that record more than any other over the last four years. A beautiful ride.

Graham: Forever Changes by Love - for a couple of reasons.

It was the first time I’d heard so many different styles and elements marry together so seamlessly on one album. It was Psychedelia, Pop; Folk, Rock; Orchestral and Wild West sounds - all rolled into a selection of beautifully written songs. But, mainly, because hearing it for the first time also coincided with me moving to London for the first time - and listening to almost nothing but Love for an entire autumn...so it always puts me on a huge nostalgia trip.

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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).

Jacob: Nolan Porter If I Could Only Be Sure

Graham: Joni Mitchell Carey

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INTERVIEW: Y.O.U.N.G

INTERVIEW:

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 Y.O.U.N.G

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THE guys hail from different and disparate backgrounds…

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but Y.O.U.N.G are pulled together by their love of music. Bringing Rock, Punk and Hip-Hop into the mix; they put all this magic and connection into the new single, Exposure. It follows from their tearaway track, What I Gotta Do. I ask the guys about new material and whether we can see more in the future. They talk about their Manchester base and whether there are any U.K. gigs this year – and what plans they have for the coming months.

Exposure looks at cheats and liars so I had to ask whether there was a certain U.S. President that inspired the lyrics. The guys talk about music and albums that are important to them; what advice they’d give new artists – and a special message for their fans.

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

HEY, there. Things are going great.

Feeling good and working hard on rehearsals! Plus, our single Exposure, had its first major radio-play this week - so we're still on a high. 

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

We are Y.O.U.N.G, from Manchester. There's five of us: Chez (Vocals/Guitar), Ben (Rap/Synths); Jamie (Guitar/Production), Tom (Bass) and Graeme (Drums). Our sound is a fusion; blending the genres of catchy Rock guitar riffs with Hip-Hop processed beats…with hints of Reggae and Ska – and, hopefully, creating something new and fresh! 

Exposure is your new single. Tell me about the song and how it came together? What are the themes and ideas that run through it?  

We're always working hard in the studio and have created loads of songs together -  but this one just stuck out ...

The guitar riff that starts off the song really sets the mood and energy. It's upbeat and in your face and we can't wait to play it live to everyone.

There is a sense that frauds and liars should out themselves, no?! How much of the track is directed at people like Donald Trump? 

When writing the track, we never thought of directing it towards political heads such as Donald Trump. To be honest; this guy gets enough air-time as it is! I wouldn’t say we’re a political band: we will leave all that to the politicians. Haha!

The song mashes the hard edge of Royal Blood and Hip-Hop with a sharp lyrical tongue. Is it hard effortlessly fusing disparate sounds like that?

You'd think so, right!?

It all just seems to come very naturally to us all because we’re all into different music and styles - it just comes together when we’re on stage. For music to progress and find something fresh, it’s all about inspiration from all different aspects of different genres.

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Did you all grow up listening to eclectic music? Who are the artists you all look up to?

Our inspirations go from Green Day, Oasis; Newton Faulkner to Loyle Carner; Wu-Tang Clan and OutKast. We like to mix it up on our tour-bus playlist. Haha.

Jamie, our producer, listens to a lot of Electronic-style music, so there’s always a hint of Electronic in the production - but it's also very organic the way we play live and what’s on the records. 

I suppose you all come from different background. How did the band form and how do songs form? Do you all write separately – or do songs come together with all pitching in? 

The band started with Chez, Jamie and Ben doing the main core of writing - and then we added in Tom and Graeme at a later stage. Chez has known Graeme since primary-school and he lives with Tom; so it all fell into place very nicely. We all write together for Y.O.U.N.G and, separately just for fun, we also produce for other artists.

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Your fanbase is rising and loyal. How much do they mean to you and what message would you give them? 

Ahhhh, we love the fans! They are actually great they do so much promo for us; send us gifts and (just) continue to put a smile on our face. We're so grateful.

A message to them: “We love you and we can't wait to meet you all on the road in the upcoming months".

What I Gotta Do is your previous song. How much of a difference have you noticed between it and Exposure

Not massively, you know. The fans love both songs, as we do. It just recently it got picked up by Radio X - so that's good.

What I Gotta Do was important to us at the time as it really set the precedent of what Y.O.U.N.G is about. It's more focused on processed beats: Exposure is more a (real) live track - in terms of the more Rock live-sounding drums - and the overall retro feel it has. But, all-in-all, there’s not too much difference between them: they both still sound like us!

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Can we expect an E.P. this or next year, perhaps?

We're planning to release a few more singles - building up to an album next year. The plan is to release a steady amount of singles and an E.P. leading up to later next year. We’ve been working really hard in the studio the last few months and the ‘album’ - or collection of songs we have now - is something we are super-proud of.

We can’t wait for you guys to hear them!

What other tour dates do you have coming up? Where about are you going to be heading to? 

We're gonna be playing most of the U.K. and branching out to Europe - like Amsterdam, Paris and Germany.

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

Chez: Newton Faulkner - Hand Built by Robots

I know every word off by heart and have listened to it over one-hundred times in its entirety.

Jamie: Californication - Red Hot Chili Peppers

I grew up listening to this album and loved the simplicity of it.

Ben: Newton Faulkner - Hand Built by Robots

I started listening to this album first when I was travelling and actually sailed around the Great Barrier Reef with Newton's sister - not just her, but she was there. I feel very connected to the words - and his voice is incredible.

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

 Don't give up and it takes time to find YOU as an artist. It’s taken us quite a while to really find our sound… but the main word to use is ‘PATIENCE’!  

Christmas is approaching. Do you all have plans already or will you be busy working? 

We all love Christmas: it's the best time of the year. I think Jamie's heading to New York so that will be alright. Haha!

How do you spend your time away from music? Do you all have hobbies? 

Chez: Football and the gym is a passion of mine and, if I'm not doing, that I’m'quite happy sitting at home stroking the cats. Haha.

Jamie: I like to travel in my spare time. I love visiting new cities, new countries (and discovering different cultures)!

Ben: I like to read books about energy and positivity: try to work on becoming zen. 

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).

Stacy's Mom - Fountains of Wayne 

Arctic Monkeys - When the Sun Goes Down

Novo Amor - Carry you 

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INTERVIEW: Tom Dibb

INTERVIEW:

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 Tom Dibb

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FEW artists have the story and back-history…

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of Tom Dibb. In his trust campervan, ‘Pickle’, he embarked on a long tour of Australia and it seems appropriate, given a song-title like Hit the Road, some of that should be unveiled. In fact; that song is actually about something deeper and more common – Dibb explains the song’s origins and what his new album, Ground, Up, is all about.

Dibb talks about upcoming gigs and the albums that have impacted him most; how he transitioned from a job in London to a life in music – and where things go from here…

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

Hey! Not too shabby, thanks.

We’ve been sending signed C.D.s out to all those who preordered the new album - and plugging the new tunes off at the moment. We’re also busy booking a tour for the New Year.

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

I’m Tom Dibb: singer-songwriter; campervan-dweller. I’ve been on the road for the most part of five years and it all began as a means to make a living doing what I love doing - and having a general appreciation for outdoor life and adventuring.

Hit the Road is out there. Can you talk about the song’s creation/origins?

I wrote Hit the Road a couple of years into van-life; having realised that, once we strip ourselves back to basics, most of us are far more capable than we give ourselves credit for. When we don’t have the means to pay - or rely on other people to do things for us - we can learn and evolve. We can break the mould; realise born-given potential and claim independence.

That’s what Hit The Road is all about.

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It seems appropriate given your gigantic trek to Australia in your camper van! You were in ‘Pickle’ for fourteen months. What was the reason behind this mammoth feat?!

I wanted to branch out and get my songs heard across the globe...but in my own way.

I wasn’t prepared to take the route of T.V. talent shows or endless hours of social media. I’m at my best - and happiest - when I’m playing my tunes to people right there in front of me. For years, people said: “Tom.. you should be on the East coast of Oz: you’d go down so well there”. I figured it was about time I went to see. I’d drive U.K- to-Australia; playing in every country; everywhere I could en route - and use social media as a tool to share what I discover along the way.

I’d been touring the V.W. festival circuit for a couple of years when I started planning the tour - and had grown quite a following in that community because of ‘Pickle’ - so she had to be the bus that I would take across the globe.

Together, we would combine music, travel and experience new cultures…all into one epic tour. A Pickle Down Under was born.

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What did you learn from your time on the road and is Melbourne, where you ended up, somewhere you can see yourself going back to?

I’ve learnt so much during my time on the road, and continue to every day, but if I were to shortlist some things learnt during the tour, they’d be:

1.  You never know what’s around the corner: everything can change in a spark.

2.  You don’t need to share a language in order to communicate. I got by with scraps of language when needed but I enjoyed the company of people - who became great friends with none at all. Music can also bridge gaps between people with social and cultural differences.

3.  I can give you a list as long as your arm about mechanical bits. I learnt to fix on a 1989 V.W. T25.

4.  You can surf on the Black Sea.

5.  Eating is not always a pleasant experience…

I can certainly see myself and the boys in the band returning to Melbourne - and all of Australia - to be honest. The original music scene there is thriving and a whole lotta fun - and with such a gigantic land-mass; there’s so much left to explore…

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You visited lots of other nations. What were your favourite memories and tell me about some of the experiences you had on the road?

Some of my fondest memories are those of meeting new folk, who would become friends, and experiencing the most incredible hospitality from strangers.

One that comes to mind is when I’d just arrived in Georgia - without Pickle - as she was on a ship full of military cargo crossing the Black Sea. Foot passengers were a not allowed on board. On arriving at the airport in Georgia, I sat down at the laptop to plan the details of my next move. Two guys had already tried to hurry me off in a taxi to the best hotel in town (I didn’t get a good vibe from them) - when an older gent with a calm air about him approached me.

His name was David and, with no real understanding of one another’s language, I established he was telling me his house was 500 meters from where we were. He invited me to eat, drink and rest with his family. I trusted him and, within minutes, I was hanging out with the local men (his friends) in the village centre; drinking homebrew, eating smoked cheese; sharing tobacco and laughs.

I explained to David’s daughter (who spoke some English) that I needed to be in a place further north called ‘Poti’ the next day to collect my van at the port. She told me that her father (said he) would take me there and help me to find the van.

The following day, David drove me the whole 70-K.M. trip to Poti - and would not leave my side until we found someone at the port that spoke English and could assist me. On parting, David gestured that, once I had Pickle, back I should return to his home to stay with them again - and that I did. I played them a few songs in their home as a small thank you gesture - feeling a bit bowled over by their generous spirit and immense hospitality.

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I experienced many instances of such friendly human spirit during my time on the road and have many stories of peoples generosity and hospitality in the most unexpected places.

Other experiences included isolation on the road. Not seeing anyone for days, and embracing being alone while surrounded by nature and beautiful landscapes, gets a whole different set of brain cells ticking. (When I had just entered Kyrgyzstan Pickle and I climbed the Otmok Pass; 3326 meters above sea-level and camped out up in the snow - having spent the previous night in the desert). When night fell, the wind dropped and it was silent: the moon and stars reflected off the snow, lighting up the landscape. I cooked, sipped on snow-chilled vodka and thought myself to sleep.

An hour or so after dropping off, I heard a rustling from outside. I had left some tins in a bag, under the van, rather than on the roof-rack - as I was not expecting much wildlife this high up. When I opened the sliding door; I saw a mountain fox disappear into the white. Being this close to a creature, that survives in such a harsh environment, was pretty special.

Ground, Up, your album, was released later last month. What themes and topics inspired the album?

Ground, Up is inspired by a lot of themes that, all together, tell a story of development and learning. There are points-of-view from my life a few years ago in London - relationship experiences, self-battles in times of personal change; thoughts on political climates, paths of discovery and tales from the road.

You used to work in London doing a regular job. Was there that moment you had enough and had to get out? What was the final realisation/point that you knew music was a better path?

The six-month stepping-stone of a job had turned in to a six-year one; attempting to build some form of musical career alongside. I was doing some gigs with one of the coffee shop companies and took a couple of weeks’ holiday to do a south-west coastal tour of them. I’d had ‘Pickle’ for a few years already and, so, I packed her up with the necessary gear for gigging and we set off to the coast.

I started off in Brighton and continued west; busking in-between cafe gigs and occasionally hitting-up impromptu opportunities to play my songs in harbor-town pubs. Just over half-way into the tour; I thought about how long I had before I was back at work – and, while doing so, I also thought about what I was doing. I was having a blast; sharing my music; meeting new people, making new opportunities; camping out in my van and making enough money to keep myself going.

I never went back to my old life in London…and that was almost six years ago.

Who are the musicians that inspired you when you were younger?

My old dear used to listen to Tracy Chapman and Joan Armatrading. I still listen to them today so I guess that’s the earliest: moving on to Bob Marley, Counting Crows; David Gray in my early-to-mid-teens and then Jack Johnson; Ben Harper and John Butler in my late-teens/early-twenties when I really started writing.

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It seems, given the year you have had, there must be more material in your mind! Are you thinking ahead to another album/E.P.?

Absolutely. The Chapel Dog Records team, the boys in my band and I have already started recording the next E.P./album - and I’m working on a few fresh ideas, now. We’re looking at getting back into the studio January 2018 - for a potential spring release.

We’ll see how the tunes go…

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IN THIS PHOTO: Craig Atkins

Who are the new artists you suggest we check out?

There’s quite a few Australian artists I met over there that are certainly worth a look.

Mr. Craig Atkins toured with us on percussion but is an awesome multi-instrumentalist and songwriter.

Tristan O’Meara makes didgeridoos and sings with a rare passion on songs with a Roots, Folk and Blues flavour.

Phil & Tilly - from the Isle of Wight - currently tour the East Coast as an acoustic duo, Upright Bass - guitar and awesome harmonies giving Byron Bay a taste of U.K. Surf-Folk.

This dude’s not new by any means but he took me under his wing - and if you like a dirty Blues with a husky Tom Waits-kinda vocal then The Mason Rack Band are a must-see. Awesome musicians; wicked-cool guys and man do they put on a show.

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Do you have gigs coming up? Where can we come and catch you play?

In late-Jan/early-Feb 2018; my band and I will be out touring the new album, Ground Up. We’re currently booking gigs from Leeds down to London, including the 1st Feb at Mr Wolfs (Bristol) and 8th Feb at The Stables (Milton Keynes).

As for the rest of this year; I’m keeping it close to friends and family and getting my feet back on familiar ground. I’ll be hitting the streets busking - and the markets. I’ll be playing at Knebworth’s Christmas fair on the 12th November in Hertfordshire - amongst other dates (for a full gig-list, see my website: www.tomdibb.com).

I’ll be doing a few little old pub shows too - to enjoy an English run-up to Christmas.

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

Counting Crows - August and Everything After

I was given this album at a pivotal point in my life and, somehow, it made things make sense. It will always resonate with me…

Natty - Man Like I

I bought this album the summer I went off on that cafe tour (that changed my life).

Incubus - Morning View

I was seventeen when I got in my first band, ‘Kipdenooi’ influenced by Incubus and the Red Hot Chili Peppers. Those were my first writing days - and a couple of the best years of my life so far. If it wasn’t for that band, I wouldn’t be doing what I am now.

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

It all depends on what you’re doing it for.

If you’re in it for the same reasons as I am, then be yourself; take influence but never feel the need to replicate. Keep pushing on: there will be good and bad times throughout but that’s what makes it real. Trust your gut. It’ll take a while to learn how to do this (I still am) but it’s always right once you can differentiate some instincts and feelings from others.

Play as much as you can. The more you play, the more opportunities will arise.

Christmas is approaching. Do you have plans already or will you be busy working?

Yeah. We’ll be working as usual. Christmas is the private party season for me - and playing those is always a hoot.

There are some Christmas-fair gigs on the run-up to the festivities - and the boys and I are playing New Years’. Other than that; it’ll be preparations for the New Year and enjoying a few days with friends and family…good-old English Christmas-style.

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).

Keb' Mo' - Victims of Comfort

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INTERVIEW: ColinResponse

INTERVIEW:

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 ColinResponse

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IT has been fascinating finding out about…

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Toronto’s ColinResponse. The name alone beckons intrigue but the man is dashing, compelling and a fascinating interviewee – someone who, as you will note, does not skimp on answer-detail! I ask him about his self-titled E.P. and comparisons to Bruno Mars and André 3000. He talks more about his five-piece band and what the music scene is like in Toronto – and what tour dates he has coming up.

ColinResponse is a hot name in music with a rich and film-worthy past. I ask him about his influences and when music arrived in his life; what advice he would give new songwriters – and whether he will have some time to chill at Christmas.

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

Man, I’m great.

My week has been a whirlwind. You know; I don’t know when one week begins and the other ends. People are like, “How is your weekend?” and I’m like “It’s not a weekend really: more like a week-continue” (laughs). But I’m doing great. Staying focused, praying; meditating - keeping my mind aligned for everything that is to come.

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

My name is ColinResponse. I’m a Pop-Soul artist from Toronto, Canada. I love music; I love people and I love what I do. Every day’s a journey and I’m excited to have more people involved in this journey - to go along with me.

Your eponymous E.P. is out on 27th October. It seems romance and relationships are at the heart of the work. How important was passion and love to the song’s best moments?

Wow.

Not to say it doesn’t exist in some brief instances of the work, however, I should make it clear that for certain: love passion and relationships are at the heart of the work (but romance is not).

With that being said, aren’t relationships at the heart of everyone’s work?! I feel like, whether it’s between someone or something, everything that we experience and share (as artists) is something that (is of) an expression and experience of one’s relationship- whatever the subject matter may be. So, if you ask how important passion and love was to my songs’ best moments, I would say it is of significant importance.

There are certain songs that particularly speak to romantic situations without a doubt. Some unrequited; however, some songs - like Something About Your Love, for example - you’ve just chosen to interpret it as romantic - when that song isn’t about anyone at all: it’s actually about my love and appreciation for music.

But that kinda further exemplifies my point: that everything we write is about relationships; whether it is about romance or not. I’ve left enough open in my music for listeners to interpret it as it best suits them. 

How important is it to you that the E.P. brings people together? Do you hope, through your music, there will be a sense of unity?

I don’t hope for anything - I never hope for anything...

I made a decision, some time ago, when I heard the infamous quote “Hope for everything, expect nothing” that I would live my life by the opposite. So, I “hope for nothing; expect everything”.  I’ll paraphrase by saying, when you hope for something, you can sit there without taking action. But, when you expect something, you can only expect it when you give reason to expect it - which means you must take action. So, I expect there will be a sense of unity and I expect to bring people together - because that was my intention - whether that be through the lyrics; whether that be through the way people feel or whether that be through anything for that matter.

But, what I do know is that I spent a significant amount of time ensuring there is congruence between what I am sharing and how I am sharing it - and that there’s a congruency between not only the music and the lyrics but (between) the song as a whole and myself as an artist…and, furthermore, congruence between myself as an artist and what I wish to express for the outside world to see.

So…I truly do have faith that my music and this album will bring people together….

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You came second on Shaw TV and Fontana North's Urban Star televised talent search competition and first in the industry-vetted and fan-driven Hennessy Artistry's International Talent Quest. She Dances in the Rain beat some heavy competition, there. How important have those experiences been and what is it about your music, do you think, that makes it so easy to connect with?!

What is it that makes my music so easy to connect with? I should ask you! (laughs). I’m just making music that is honest, you know?!

I’m making music that expresses my intent and I spent a lot of time to ensure that I do that.  I’ve also spent a lot of time in general working on my skills regarding communication with others. That doesn’t mean I’m the best writer in the world - and I don’t even mean artistic writing - I mean just general writing; but I have spent a lot of time making sure that I do my best when it comes to not just delivering a message, but ensuring that the person on the other side understands the message.  I feel so many people confuse communicating with ‘saying what you mean’ – it’s not.

Communicating is ensuring that the person on the other end understands what you intended for them to understand (regardless of how clear you may think you are). I feel like I’ve done my best to do that through my music, harmonically and melodically – not just the lyrics. I did that by making sure I focused on conveying the message musically first, before even thinking about including the lyrics...because I believe they shouldn’t be delivering the message: they should only be reinforcing the message that my music delivers, or I’m not doing justice to the music.

Some people work the opposite way around, too, and have their music reinforce the lyrics - but there’s no magic formula. As long as it accomplishes the objective, then we good.

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 PHOTO CREDIT: @philsphotocanada

Your music has been compared with the likes of Bruno Mars and André 3000. Are those artists you follow or do you want to be valued in your own right?

Well, I would go as far as to say that they’re not exclusionary: you could both follow them and be valued in your own right. I think it would be unrealistic to believe that both those artists, Bruno and André, didn’t have artists that inspired them – yet, we see them as artists in their own right. Personally, I’m a huge Bruno fan. I’m constantly impressed by him as a songwriter, producer and, most significantly, by the way he connects to his audience as a performer and artist as a whole. André is also dope but, to be honest, I never really knew André 3000 until really later on. When I was releasing some of my earliest music, I heard a lot of people saying that I reminded them of Andre and I was like, “Cool. I don’t really know much about the guy” (at least I didn’t think I did).

After looking back, I discovered there were tons of songs by him that I knew and loved as a kid - but I didn’t even know it was him or OutKast. They were just popular songs at the time. I was never an active music listener so a lot of my Pop influences came from what was in my environment. Now, knowing so much more about him, I think it’s interesting and I certainly see the similarities in the energy; the quirk and the fun he has in his music and his performance.

Looking back on your career – and where you are now - what is your favourite memory from your time in music?

NOW.

Every day, I pray and meditate and I reflect on the past - the recent-past; I reflect on the day before. As I reflect, I see so many amazing things happening. I have been working hard and I’ve been putting a lot of time and effort to get to this point and – so, it’s exciting (every day) seeing how the day before brought me to the place I am today…and, so, I’m grateful for all of that - and I feel like I will continue to be so.

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Toronto is home. It seems the city is sporting so many interesting artists. What is it about the area that means we are seeing such a range of brilliant musicians emerge?

I tell you what I believe it is: it’s not just Toronto but it is the G.T.A. (Greater Toronto Area): all the suburbs surrounding Toronto - i.e. Mississauga, Brampton; Scarborough...

Around fifteen-to-twenty-five years ago, all of these places developing around Toronto, and of course Toronto included, I feel were home to so many families – and so many people whose parents came from other places wanted to give their children a better life than they themselves had. Now, when people mention the areas around Toronto (Scarborough, Mississauga; Brampton...) - if you’re Canadian - you have an impression about those places. But, back then, when I was growing up, there was no reputation or expectation per se.  

I feel like so many people were being brought up in an environment where there was no ceiling on their imagination, you know. There wasn’t this idea that ‘if you were here, you were this’.
Canada is a young country and it’s also filled with multiculturalism – more particularity, Toronto. So, you’re getting people from around the world whom have a nature of fighting and looking to make the best of what they have.

When you have all these types of people from cultures around the world - all localized in one place - you better believe that their children are going to share similar attributes - or that those parents are going to instill the same values into their children. They came here wanting their children to live a better life than they had or to have better opportunities than they had. I feel like (that) the spirit of a belief that ‘you’re here for something great’ really shines through these artists and athletes that come out from the city and the surrounding areas.

One of the most powerful things in the world is the freedom and openness of the mind. At such an early age, when you’re put in an environment where there is no pre-conceived notion designed influence your behavior, all that is left is for you is to imagine where and what it is that you want to be. That’s why you see these pro basketball players, pro football players; musicians, actors...coming out of this small city.  The population of California is larger than Canada – one state has more people than our entire country. Yet; you keep seeing people pop out of here - that’s not a coincidence. It has become a breeding-ground for it - and I genuinely believe that’s why…
 

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Listening to your music and it seems you were raised on an eclectic collection of artists. Who were the big acts you held dear when you were younger?

There were specific artists, to be honest. I know a lot of people were raised on different bands and stuff like that but the people who influenced me most…

Number one, Michael Jackson. No questions asked; 10/10; would listen to again, because he influenced both my songwriting and performance. The other people on par with influencing me, musically, are Nobuo Uematsu (植松 伸夫) and Koji Kondo (近藤 浩治). Both (of the latter) are video-game composers. I bought my first album for myself when I was eighteen or nineteen. Everything before that point I consumed by proxy of where I was - whether that was playing video-games, simply hearing the music blasting from my sister’s room or being in my basement when my dad was listening to Jazz, Reggae or Motown.

I am a product of my environment: I did play a lot of video-games and I do still love orchestrated music and Pop music  – very carefully, all those things have combined themselves into what it is you hear today.

I want to talk about the five-piece band that performs with you. How did you meet the musicians you play with and what is it like touring with them?

I met them at school; I went to school for music...

Over the eight years that I’ve been doing this; my team has had several reincarnations - as we continue to elevate what we are doing. People started to fall off; people decided they were going to move to their own path for their own particular reasons and, also, people, who were more aligned with our vision as a team, started to surface. There’s actually only one member of my band who has been playing with me since my very first show - and that’s Brian Dhari, my sax player. It’s been almost a decade of us doing this. 

The team’s strong and the team’s tight: everybody has a great level of care, compassion and emotional intelligence - I couldn’t be happier, honestly.

What tour dates do you have coming up? Where can we see you play?

Well. We just finished a campus tour and it was crazy. Our next priority, right now, is the album release on the 27th Getting close to that date, we’ll be booking some more shows. So, if you wanna know where and when we’re playing, you can join our fan list…that’s where we do all our announcements: new videos,  new music; show dates and stuff like that. So, hit up: http://Fans.ColinResponse.com.

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Are there any big plans before the year is through? Will you have a chance to chill before Christmas or are you pretty full-on until then?

(Chuckles) “Chill”... yeah, the only ‘chilling’ I’ll be doing is freezing my ass off when winter hits (laughs). It’s gonna be full-on; been doing a lot of work up to this point in time and, with the album releasing at the end of October, I’ll be pushing really hard throughout that time - and it’s gonna be a lot of work. It’s gonna be a lot of playing and a lot of planning for the future.

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IN THIS PHOTO: Daniel Caesar

Who are new acts you recommend we check out?

Sheiz! Daniel Caesar. But, I feel like I can’t even say that anymore because I feel that everyone’s hearing him so much now, that it’s not really warranted for me to share anymore (laugh).

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

I’m gonna say, number-one, is Michael Jackson: Off the Wall

That record reminds me of my father: it’s the first record he’s ever shared with me.

The next one is gonna be Bob Marley and The Wailers: Legend

One of my best friends in middle-school bought that for me on my birthday - we had the same birthday. I wonder if I even got him anything...I probably did but his gift was certainly better and of greater significance.  

The final is going to be the original soundtrack to Final Fantasy XII, composed by Nobuo Uematsu.

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

Am I qualified to give advice at this point?! Sure! (chuckles).

Well, here it is: some people say “It’s not what you know, it’s who you know”; however, my mentor once told me: “It’s not who you know, it’s who knows what you need”. So, I encourage you to be open and ask for help: also, be willing to help. Remember: all these greats that we see did not do it alone, although the media makes it look like that; they all have a strong team behind them: a team of people who are just as skilled as them at what they do.

All these people working in-tandem are what enables that person - in the public’s eye - to raise to the level that they do (they’re held up by so many people. The only other thing left to share is that (there are) only three things that you need: Persistence, Consistency and Optimism. If you have those three things, your success is an inevitability.  So just remember: to ask for help, and throughout your journey, to be persistent and to be consistent and to be optimistic.

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).

My song choice is to further emphasise my previous statement - that you need only three attributes to find your own personal success:

Stay persistent, consistent and optimistic under all circumstances; regardless of what anyone else says. You need only these three things…Nothing Else

Gatekeeper - Jessie Reyez

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INTERVIEW: Cub Sport

INTERVIEW:

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PHOTO CREDIT: Jennifer Embelton

 Cub Sport

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I was not aware of the stories and emotions that infuse…

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Cub Sport’s new album, BATS. Tim, the band’s lead, talks about how factors like his coming out affected some of the moments you hear – Chasin’ was the first song penned after that revelation. He talks to me about his relationship with band-mate Bolan (Sam); how the Brisbane gang got together – and how the music has developed since the early days.

I ask whether Cub Sport are coming to the U.K. and what the remainder of the year has in store; whether there is a song from the album that stands out in the heart – and how it feels knowing the band’s music translates (and is loved) around the world.

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

Hey! Doing well, thank you!

My week is off to a good start. Just hanging out at home with my dogs Missy and Evie; listening to music; catching up on emails - chatting to you!

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PHOTO CREDIT: @jameshmatthews

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

My name’s Tim - I’m the lead singer/songwriter in Cub Sport. We’re an independent Pop group from Brisbane, Australia.

Our music is dreamy/warm/chill-Pop with some R&B/Soul influences.

Can I ask about the band-name, ‘Cub Sport’? Is there a particular story behind that choice?

When we launched the band back in 2011, we were called ‘Cub Scouts’ but, after receiving a legal letter from Scouts Australia, we swapped out ‘Scouts’ for ‘Sport’!

We ran through hundreds of different options - but 'Sport' felt like the right vibe.

O Lord is your new single and pretty beautiful. Tell me how it came together and what the background is?

The recording process for O Lord was really spontaneous - I just opened up a recording session, pressed record and started singing into the mic. I followed the vibe from the intro; recorded in the synths and developed it further. This song really came to life when we developed it in the studio with John Castle. He pulled out (all of these) drum loops he had archived from the 1990s; cut them up and built the beat that you hear throughout the choruses/verse. It’s the perfect balance of a chilled vibe but with a certain exciting energy to it.

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It took writing and recording O Lord for my own feelings to really make sense to me. I wrote it a few months after coming out - it was a really intense time of blended emotions of joy and fear - I was finally in a relationship with the love of my life and it felt like I suddenly had everything – but, what I didn’t expect, was the feeling of then having everything to lose.

It’s a confusing combination of feelings to convey but this song brought some clarity to what I was experiencing.

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The track has gained coverage from sources in Australia and the U.K. Is it quite humbling knowing your music is connecting with reviewers/journalists?

The response has been so encouraging.

I felt quite exposed releasing this song and sharing the context around it - but the way people have empathised and connected with it has been really special. 

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I believe Chasin’, the next single, is coming soon. What is the story of that song and is there a reason Cub Sport are so productive right now?

Yes! Chasin’ feels like the start of the BATS story - it was one of the first songs I wrote that made it onto the album. I wrote it after coming to the realisation that I was in love with my best friend/band-mate Bolan (Sam). I had been away on a writing trip and missed Bolan a lot - I realised that I didn’t want to spend a single day of my life without him.

I had barely admitted to myself that I was gay - so there was a lot to work through. It felt like my life was kind of all over the place and I didn’t know what I was chasing in life or why - writing this song was a pivotal first step in being honest with myself and figuring it all out. 

As for our productivity; I guess I write songs to process whatever I’m going through. When I’m writing/recording, I’m never in the mindset of ‘okay, I need to write a song’. I kind of (just) try to let my feelings flow - and I find that I’ve been more productive since becoming comfortable with this process.

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BATS is the new album. Give me an insight into the types of stories and events that go into the album? I believe an inter-band relationship/love inspired one song?

A large portion of BATS is based around the development of my relationship with Bolan.

It starts at Chasin’ - which is when I started to acknowledge that I was gay and in love with Bolan - to processing those feelings (Look After Me); to finally acknowledging the situation a year later (Crush) and then coming out and getting together (Bats, Solo II and Banyo Blue).

The development of our relationship, in conjunction with the overarching feelings of uncertainty that have surrounded me throughout most of my adult life, resulted in an inspired, emotionally-heightened time in my life.

I feel like I’ve been able to channel that into this album. 

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PHOTO CREDIT: Savvy Creative

Is there a song from the album you all hold dearest? Which is the one that means most to you all?

Bats is a really special one for me...

I feel like it captures the warmth and energy of being in love - and I’ll be able to relive this exciting time forever through this song, in particular. 

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PHOTO CREDIT: Rovel Hagos

Your music has evolved since 2016’s This Is Our Vice. Have there been big sonic and creative shifts in the band? Do you think you have got more confident since then?

Yeah, there definitely has been a big shift!

I recorded and produced a lot of BATS at home - and I was much more meticulous about making sure the way the songs sound made me feel the way I knew they needed to. I’ve become more confident in my recording/production skills (though I’ve got a long way to go).

I’ve learned to trust how I’m feeling and use that as a guide.

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Brisbane is where you are based. What is the city like for new musicians?

Brisbane’s a friendly place for new musicians.

I feel like there are plenty of opportunities to play and get experience. When we recorded our first demos; Bolan and I drove around handing our demo C.D.s out to every single venue in Brisbane - and that’s pretty much how we started getting gigs.

What tour dates do you chaps have coming up? Are you coming to the U.K. at any point?

We’re touring Australia in Feb./March 2018. We’re just locking away some U.S. dates - and we’re in the planning stages for a visit to the U.K. in 2018, too!

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Who are the new artists you suggest we check out?

E^STs new single, Life Goes On, is so beautiful!

I also loving Kllo’s song, Dissolve – super-emotive Pop!

Also loving how chill King Krule’s Czech One is!

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

Frank OceanBlonde

It came out just after Bolan and I got together - and has become a really significant marker of that time for us (especially Solo). We’ve given each other Solo tattoos and there’s a song on BATS called Solo III - that is based around the significance of that song for us.

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

Follow your vision and don’t be discouraged if not everybody gets it. Stay true to yourself and believe in yourself!

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PHOTO CREDIT: Samuel Neil

Christmas is approaching. Do you all have plans already or will you be busy working?

We’ll be at home with our families - and dogs - for Christmas!

We’re playing a festival called Beyond the Valley over New Year’s, which should be super fun. Schoolboy Q and Mura Masa are playing too - so we’re super-excited to catch them.

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PHOTO CREDIT: Rovel Hagos

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).

It’s just me…so I’ll choose four songs for ya?

E^ST - Life Goes On

Frank OceanLens

Pool Shop - Can You Dream

HTMLflowers (ft. Banoffee) - Chrome Halo

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INTERVIEW: Josh Wheatley

INTERVIEW:

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 Josh Wheatley

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IN an age where we are provided too much

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choice in regards which artists we listen to: there is something instant and unflinching about Josh Wheatley. The twenty-one-year-old Nottingham-based artist cuts through the misty confusion and illuminates the path with a crystal voice and sumptuous warmth. I speak to Wheatley about his new single, Chemicals, and what inspired the song. He discusses Nottingham and what the music scene is like there; if more material is due – and how his family guided his love of music.

I ask him about touring and what dates he has coming up; the albums he holds dearest – and whether each single he released (Chemicals is his third) improves and evolves.

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

Hello. I’m good, thanks! Not too bad…

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

I’m Josh. I write Indie/Pop music – sometimes, with a brooding twist.

Chemicals is your new track. Can you give me some details about its creation and crystallisation?

Chemicals is a song I’ve had for a few years...

I’d already produced my own demos, and even worked with someone on it, but shelved the song because I was never happy with it. It was only going in to work with Al Groves, and he sat down and listened to a bunch of my demos, when he picked out Chemicals (out of twenty/thirty songs).

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It frames your angelic and unique voice. How easy/hard was it getting your voice like that? Which singers did you look up to as a youngster?

Too kind, thank you!

Erm…for me, it just took practice. I remember hearing people like Justin Vernon sing for the first time and it absolutely blew my mind – but, in reality, for me; my voice broke quite late on in my teenage years. 

Was your household, as a child, filled with great music? What sounds/albums were you exposed to?

Not to sound ungrateful to my parents, but it didn’t exactly shape my music taste.

My dad is a big fan of the band ABBA and Gospel music. The only thing I picked up from my mum was her like for James Morrison and Jamie Cullum. I remember hearing All at Sea - around the age of ten - marveling in the mellow quality of the record.

As a child, I was the least musical. My brother started playing guitar at age eight: I only discovered I could sing when I was forced to do so at school.

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Chemicals is your third single. Are you noticing evolution and change with every new release?

Sort of…

I try not to think about that too much. I think each song speaks for itself - and that’s how I’d rather think about it. They’re each a different beast to me - and have all come from different places.

Will an E.P. or album be arriving next year, would you say?

Most definitely not an album, YET: maybe an E.P. - but I’ve already planned out the next single.

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Nottingham is your base. What is the city like for new music and opportunities?

I’m not sure where I’d (necessarily) be if it weren’t for living in Nottingham.

The first show I went to see was Dry the River when I was fifteen (at Nottingham’s Rescue Rooms). D.I.D (formerly known as Dog Is Dead) played as a surprise support. I’d never heard of them before and their set was incredible! They opened my eyes to the music scene in Notts. and how much vibrancy there is.

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Your music has been played by some great stations and sources. How does that make you feel? Is it important having the likes of Janice Long (BBC Radio 2) support your music?

It’s always nice to have the support of someone like that. It makes making music easier when you’re nervous - and you think there’s no-one out there listening.

If you could formulate your own festival and could choose three headline acts of the moment – which artists would you put at the top of the bill?

No doubt about it; it’s got to be:

The National

Ryan Adams

Death Cab for Cutie

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IN THIS PHOTO: Anteros

Who are the new artists you suggest we check out?

Super-into Anteros at the moment. I had the insane opportunity to open for them the other week and they’re THE nicest people.

Only today found an awesome band called Now, Now. Their song, SGL, is massive!

Phoebe Bridgers’ new album is incredible.

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IN THIS PHOTO: Phoebe Bridgers

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

This is a really difficult question…

The NationalSleep Well Beast

Recently, this album has been permanently wedged in my head. To me, this album proves the resilience and work-ethic of bands.

David Gray - White Ladder

It’s an album that opened my eyes to singer-songwriters who use electronic elements. I had the opportunity to see David play at Cadogan Hall in December last year - and he was in phenomenal form.

Dry the River - Shallow Bed

For me, this album started everything. I first heard Shaker Hymns and (just) had to buy the album.

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

Play as many shows as you can.

Christmas is approaching. Do you have plans already or will you be busy working?

I'm in the middle of arranging a show (to play) near Christmas, which will hopefully be announced soon. Also, I’m working on the next single (for next year).

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).

The National - Day I Die

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FEATURE: Minds Over Matters

FEATURE:

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PHOTO CREDIT: Unsplash 

Minds Over Matters

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TODAY is a very important one for anyone who has to deal…

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with a mental health problem. It is World Mental Health Day and, rather than this being a chance to ‘make space’ for the issue: many are sharing their stories and revealing their struggles. There are a couple of reasons why I wanted to mark World Mental Health Day. For a start; there are many musicians who suffer mental health issues – and many other psychological disorders – and have to keep their illness s secret. Some of the biggest names in music go through mental health struggles. In fact, when researching for this piece, I came across an illuminating piece in the Independent. In it; Nothing but Thieves’ frontman Conor Mason revealed his struggles – and the way pressure and expectations sit on his shoulders:

I don’t want to be the guy to burst the bubble around the typical view of a rock ‘n’ roll frontman. The sexed-up, drug-fuelled lothario; the party animal who doesn’t give a monkeys about anything but himself and the road.

But we can’t all be in ‘Towers of London’. The way I work is somewhat different, because, I suppose I’m just made of different stuff. I’ve never seen myself as an alpha male stereotype, so instead of trying to fit that mould I find myself swaying effortlessly towards the opposite. I see myself as the frontmum of the band instead of frontman, a sensitive chap who wouldn’t bark at a fly - and I’m cool with being an anti-cool figure.

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IN THIS PHOTO: Conor Mason/PHOTO CREDIT@NBTConor

When the going gets tough, that archetypal male survival mindset doesn’t kick in for me, I don’t ‘man up’. I don’t even know what that’s supposed to mean. Grin and bear it? Shout at it? Lash out at it? Does it mean ignore your issues and don’t speak to anyone about what you’re facing? Feel it but don't show it?

I just can’t do that. I’ve really tried, but as I’ve grown up I’ve realised how much cooler and frankly healthier it is to be open and express myself. I just try and be myself and not care about what people think of me, so in turn that makes me sensitive to everything, I care a lot. Ironic really.

The music industry is an alternative reality. It can give you a hall pass to deal poorly with normal life. This doesn’t account to everyone in the industry, not by a long shot, but a large number of musicians I meet have problems they suppress and never deal with correctly. I have friends who have messed up their marriages, hooked on drugs and women because it’s so readily available on the road, using them to block out difficulties in life. For people who come into this lifestyle as kids it's a bewildering, with no rule books and very little guidance, but that's the price of having the best job in the world, creating and performing music.

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 PHOTO CREDIT: Unsplash

It is a candid and revealing feature – read the entire thing; it is a very good read! – but, rather frustratingly, embed between the paragraphs are adverts, inane posts and banners! It seems, even when discussing something as serious as someone’s mental health issues – it cannot be given its own space without being wrapped around irritating garbage and spam. It is not the fault of the newspaper/website itself but it is annoying seeing a great and open piece spoiled by advertising/money-making distractions. As someone who suffers from mental health issues; I find myself being overlooked and buried, to an extent. It might seem like a rather bad metaphor but I am the advert inside the article: the minor bird trying to get its voice heard. For me; mental illness defines me and what I have done since I was young. It struck me when I was about eighteen and has been responsible for a lot of bad moments – some good in there, too. I can confidently say the reason I am a music journalist is because of my mental illness: it is debatable whether I would be as driven and single-minded without it. That sounds rather destructive but (poor mental health) has translated into something productive and, I think, good. Many assume musicians have very little to be worried and down about. As we can see from Conor Mason’s piece; there are downsides and perils being part of a band – the slumps and endless hours; the huge expectations and stress. I have found my mental health issues exacerbating for a number of different reasons.

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My blog is becoming more popular and, with it, the requests filter in wildly. I rarely say ‘no’ to anyone so it means my days – away from the full-time job – are spent emailing interviews and writing. My weekends are consecrated to the pursuit of music-writing and there are few hours spent away from the laptop. I can detach and tear myself away but I feel guilty if I take moments off and it would cause me stress – I have not had a ‘day off’ in over a year. Many see my pieces come out and assume I am happily typing and everything is breezy. In actuality, if one positioned a camera in my room – no office or suite: a small-ish room in a normal house – they would find a man who suffers a lot of stress. Every Internet drop-out and website issue causes me near-heart-attack-levels of anxiety and stress. I can be incredibly cold and distant in these times. In fact, a lot of my writing life is spent isolated and jettisoning human contact. That is my decision but I feel, aside from family, there is nothing that offers fulfilment or any connection – writing is an outlet where I can be myself and express what is inside me. My social skills are not great and there is a sense of awkwardness and lacking coordination – in terms of conversation and relationships.

We rarely consider music professionals and what goes through their mind. Depression, anxiety and poor mental health are not reserved to certain professions and sectors! It is an indiscriminate beast that feasts on the noble and hopeless alike. Among my musician contacts; I have seen everything from bipolar affective disorder and B.P.D. (borderline personality disorder) cause irreparable damage and change. A lot of musicians get into the industry in order to normalise and stabilise their mental health issues – putting it into song and finding a like-minded community. This, to me, is a side of music that is overlooked: how much support and love there is online. Perhaps the average workplace is less aware and educated about the depths and true heartache of depression, let’s say. I am not suggesting everyone in the music industry suffers mental health problems but the statistics are more alarming than the national average. It is said one-in-four (or one-in-six, as other outlets claim) of us suffers mental health issues at some point in our lives: I find that statistic rather patronising and myopic. There are a LOT more people than that who would knock that statistic – the fact people do not disclose their illness means the figure is rather biased and misleading. Musicians do not have a propensity for depression and psychological disorders - but one can draw a link between creatives and emotional unrest.

I found myself the outsider at school and had to foster a reality outside the social cliques and bike-shed-dwelling cool. I feel like an outsider still but have managed to find a sense of tribe and family (outside my own). The fact it is online is both a blessing and curse. Being able to connect with so many people who understand my problems – and share my weaknesses – is rewarding, comforting and humbling. Strip away the words and what is left is emptiness. These people are not real – they exist, but not in my daily life – so any friendship is ersatz and/or tenuous. Many on there I have a fondness for and respect them greatly: once the laptop is off; the hollowness strikes hard. Maybe social media and dependence on the Internet have made it harder to tackle mental health issues and worsened our sense of loneliness and addictiveness. One of the other reasons my mental health issues have become more pronounced is associated health issues – painful legs and chest cramps among them. Some might say that is a precursor to heart problems but I identity (these symptoms) as physical manifestations of depression. I can empathise with the plight and complexities of mental health problems; the realities and sadness many of my peers feel. We often ignore musicians and their minds because we bond with the words and music – few consider the personality and skin behind the sounds.

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 PHOTO CREDIT: Unsplash

Today should not be a one-off day where we feel obliged to shine a light on mental health struggles and people who undergo psychological illness. It is a way of opening up and taking stigma out of depression. Not only do people feel embarrassed or reluctant to open up to someone: many associate mental health problems with depression alone. Few realise the range of sub-categories, associated ailments and full psychological platter. I have mentioned borderline personality disorder but there is bulimia, schizophrenia and post-traumatic stress – so many other problems one can face. Perhaps few feel confident talking about their mental illness through fear of recriminations and ignorance. I often hesitate because, often, there is a sense of cliché and lack of understanding – not from family but other people in society.

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I do not reveal quite how bad things are but I recognise things need to change. Knowing I am not alone is a relief but it can make me feel even more alone. The more people diagnosed with mental health problems; the harder it is to treat and speak to all of ‘us’. Today is not for the few and the misaligned: it is for anyone and everyone who has any mental health problem. Rather than hide it away and feel embarrassed by any perceived sense of ‘weakness’ – this is a chance to talk to other suffers and get your story heard. So many musicians undergo all manner of mental health problems and it can be hard talking about it. There is so much pressure on their shoulders and their daily existence is so busy and stressed – maybe that is making things worse?! I do worry we are putting too much pressure on musicians and that, in turn, is causing many to suffer needlessly. Lots of love to anyone and everyone who has to feel the daily sting of mental health’s cruel whip – massive respect for sharing your experiences and being brave. Not only does it help others come forward and feel less alone about their problems. Importantly; the more we talk about mental health issues, the quicker we can reduce…

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THE number of people who have to suffer silently.