INTERVIEW: Hayley McKay

INTERVIEW:

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Hayley McKay

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SHE has played for Bob Harris…

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and enjoyed some wonderful memories in her career so far! Hayley McKay talks to me about her new track, Chance to Change, and why its messages will ring true with many; if there are any gigs coming this year – and, given the fact she has performed in Nashville, if she would like to return.

I ask what we can expect from her debut album; what it was like recording at Abbey Road Studios; the artists she grew up around; what she hopes to achieve in the remainder of this year – McKay ends the interview with a fantastic song selection.

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Hi, Hayley. How has your week been?

Hi! My week has been good, thanks! I've been on a radio tour up and down the country promoting my album (which is out on 27th April). I played Hyde Park Book Club in Leeds at the weekend, with the band, which was fun.

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

So. My music has elements of Country influences, vocally, and I would say overall Pop, Americana and Country – A.K.A., P.A.C.! It also has a British sound to it. Vocally and production-wise, it's clean, but with edge.

Tell me about the new single, Chance to Change. What is the story behind it?

Chance to Change is about someone in a relationship who is sick of giving their partner so many chances to change. In the video, we see the boyfriend ignoring his girlfriend and - on his phone constantly. I wanted it to have a message within the video that communication is so important for people and, if people are constantly looking at their phones, it can be a lonely battle. The song came to me from two great Irish writers: Aoibheann Carey Philpott and Joe Philpott Jnr.

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Your debut album is out soon. What sort of themes do you explore? 

Some of the themes include loneliness, despair and communication - but, above all, hope.

What was it like recording at Abbey Road Studios?!

Yes. We had my album mastered by Geoff Pesche at Abbey Road and it was an amazing experience. It was great to be there to understand how the mastering process works; to add the final polish and have everything ready for broadcast.

You co-write the majority of the songs on the album – working with a team, too. Was it important to have personal input into your music?

Some of the songs on my album were co-writes - and some of them I've had for a while. But, it's taken me a long time to find the right production/producer for them.

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Which artists did you grow up listening to?

Some of the artists I listened to when I was younger included Whitney Houston, Celine Dion; Irene Cara and a lot of Disney songs! But, I was introduced to loads of styles from Mum and Dad's collection, not to mention the radio - which was always on in the house. I started out in musical theatre - so I listened to an awful lot of music!

I believe you met the legendary Bob Harris. What was that experience like?!

Yes. We met Bob Harris and we filmed the Under the Apple Tree music session in the studio in his garden which is, literally, under the apple tree. His voice was soothing, yes! He is such a legend - I'm reading his autobiography at the moment, which is very interesting!

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Can we see you tour this year? Where can we catch you?

Yes. I'm touring around the U.K. at the moment. The live dates are all listed on my website.

You have performed, before, in Nashville. Is it a city you feel a connection with? Do you ever think about going back?

Yes. I loved Nashville. I'd love to go back out there and do a road trip around America with my music!

What do you hope to achieve this year? 

In 2018, I hope to achieve success with my album; build my fan base and have lots of people come and see me perform live. I would also like some of my songs to get onto film/T.V. - and a publishing deal would be nice, too...

But, the right one, of course!

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Have you got a standout memory from your time in music? 

I've done some amazing gigs - so it's hard to pick just a single memory that stands out. However, one of them is opening the Toad Hall Stage at Glastonbury. Last year, I did a hometown gig at Durham Gala Theatre which I absolutely loved, because all my family and friends were there. It really was an incredible experience.

What advice would you offer new artists coming through?

Advice? Well. I would say always be open to opportunities, but try to keep as much creative control as you can. Always believe in what you do and be nice to people - because word can spread in the industry!

Everyone is unique and there is always space for new talent, so keep persevering!

IN THIS PHOTO: Hudson Taylor

Are there any new artists you recommend we check out?

Yep. Please check out Hudson Taylor and Jade Bird. They're really good

IN THIS PHOTO: Jade Bird

What do you do to unwind away from music? Do you get much spare time?

Away from music; I like to spend time with family and friends and do all the normal things: go for walks in the countryside, go to the theatre; party etc. etc.! To relax/unwind, I might go for a walk or watch a film on Netflix.

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

Newton Faulkner's Dream Catch Me from the album, Hand Built by Robots.

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INTERVIEW: IMAN

INTERVIEW:

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IMAN

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IT has been a while since I last spoke with IMAN…

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She tells me about her current track, For You, and how it came together; whether more music is coming up; how early music came into her life – and whether, as a child, her parents were supportive of her desire and passion to pursue this path.

IMAN discusses gigs and musical influences; a new artist we should check out; what her favourite memory from her career so far is; the advice she would give new musicians coming through – she reveals what she gets up to away from recording and performing.

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

It’s been busy; very productive thank you. 

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

I’m a London-based artist that writes my songs - and I’ve been known to co-direct and edit my own music videos. I’d say my sound is Electronic, R&B; Soul with a Pop influence. 

For You is your latest track. Is there a story behind its creation?

Yeah. I wrote it about when I ran away from home at a young age - and about how much my perception of life had changed when I returned many months later.

To me, it sounds like your most confident and personal track. Do you feel For You is your most important cut so far?

I’m not sure I’d say that: it’s a song I love and still connect with...but I have more that I’ve yet to share that are, also, very personal. 

Will there be more music coming this year?

Yes. There will be loads more; it’s all being planned out.

Can you remember when music came into your life? Which artists did you grow up around?

I didn’t really grow up around music: it was pretty much banned from the house. Hence, why I felt the need to leave home so young so that I could start pursuing it. The music I was familiar with as I was growing up was whatever happened to play on the radio. My exposure to music growing up was definitely limited.

Were your parents supportive of your desire to pursue a music career? Was it hard convincing them it was the right path?

No: they weren’t supportive - and that came from their own fear for me. They wanted me to pursue a more stable path - and I always understood that.

Recently; it was International Women’s Day. Do you feel women are overlooked in the industry? Is it important we raise awareness of the imbalance?

Obviously, there are so many female artists out - and it’s been like that for a long time. I would like to see more diversity across the board for artists, male and female, from different ethnicities particularly.

Certainly, in the music industry, it’s male-dominated and, perhaps, women are overlooked for positions in this area. Women are creative, powerful and ready more than ever to be the leaders of business - I know this. I’m sure, as we keep pushing for positions and equal pay, things will change.

It always does in the end...

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Can we see you tour soon? What gigs do you have coming up?

All my gig info will be up on www.imanmusic.co.uk and, if you join the mailing list, there’s a chance to get yourself a secret song that is strictly for the ears of my mailing list crew.

How important is it getting your music out to the people? How does it make you feel performing live?

Sharing my music is what it’s all about. Putting in all the hustle, just to have it sit on my desktop is no fun. The joy and reward come from the connection I get to make when I share my music. Performing feeds my soul and reminds me why I do it when hard times come.

What do you hope to achieve, personally, in 2018?

I want to see through the releases of my next few records; perform constantly throughout the year and connect with loads more new listeners. I hope my current fanbase continues to enjoy my new music and I also want to keep writing and start taking my D.J. sets out - as I’ve just gotten into D.J.ing.

Have you got a favourite memory from your time in music – the one that sticks in the mind?

Performing to 5,000 people at Brixton Academy was pretty insane. I remember I was buzzing with happiness for days after!

 What advice would you give to new artists coming through?

I’d say, always be honest with yourself about what you could improve and what exactly you want. Don’t shy away from your ambitions - and use every day to do something that will propel you closer to your goal.

I also think keeping the most real people around you is key.

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IN THIS PHOTO: Seinabo Sey

Are there any new artists you recommend we check out?

Seinabo Sey. She’s giving me life right now. A very authentic artist.

Do you get much time to chill away from music? How do you unwind?

I don’t get much time but, when I do, I adore hanging out with my niece and nephew. They are both toddlers and give me so much life. I also love travelling - and I’m gonna be fitting that in this year, too.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

 I love Seinabo Sey – I Owe you Nothing. Tunnneee! The video is sick, too.

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INTERVIEW: Justin Nozuka

INTERVIEW:

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Justin Nozuka

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MY mind turns to an artist…

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who has enjoyed a long and varied career (so far). Justin Nozuka reveals the influence behind his track, Warm Under the Light, and what we can expect from his E.P., Low Tide – Nozuka explains what it was like working with producer Chris Bond on the E.P.

I ask which musicians inspired his course into music; what it was like opening for the likes of Stevie Wonder; if the Toronto artist is going to come to the U.K. – he provides some useful advice for artists coming through right now.

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

Hey. I’m well. It’s been a good week!

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

Sure. I’m a singer/songwriter based in Toronto, Canada. My sound, I would describe as a mix of Folk, Soul; R&B and Rock. I’m currently in the process of releasing new music - which I recorded the majority near Devon, England with the talented Chris Bond.  

Warm Under the Light is your new single. Can you reveal its story?

Warm Under the Light is a song I wrote for a neighbour who I would see often but never really speak to. I just found this particular person really attractive and wrote this song to express myself.

Warm Under the Light is from the E.P., Low Tide. What are the main themes and stories that inspired the music?

Low Tide consists of a song about daydreaming (Reverie). I was inspired by the word ‘reverie’ itself. It was relatable to me and felt I could write a good tune on the subject. The third is a song I wrote for an ex-partner/companion. The song wrote itself, really; just some of our memories bottled up in there with the truth that we weren’t meant to be together in the conventional (marriage) type of way.

Chris Bond produces. What was it like working with him in the studio?

Chris Bond is super-talented and a sweet man. It was comforting pursuing these recordings with someone I knew was capable of capturing the energy in a certain way.

A lot of trust and on-the-spot creativity.  

How do you think your music has developed since your 2007 debut, Holly?

A lot has changed and some has stayed the same. I think I’ve stretched out quite a bit over the past few album, post-Holly. I’ve just experimented a lot, creatively, which, I think, is really healthy. One thing that has stuck is pursuing live takes on the records. I think a strong live take captures something that can’t really be replicated through other approaches. There’s a natural breath and magic to it that I mostly prefer.

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When did music enter your life? Which artists did you grow up around?

I got into music when I was about eleven or so I think. A friend of mine started singing and it made me want to join. I listened to a lot of Pop music that was big at the time (NSYNC, Backstreet Boys; Brian McKnight, Spice Girls etc.) and heavily got into Lauryn Hill, Boyz II Men and others. Eventually, I discovered Ben Harper; oldies like Joni Mitchell down the line, which was a big influence on me.

You have supported the likes of Mary J. Blige and Stevie Wonder! Did you learn a lot from them? How crazy is it to think you have shared the same stage?!

Pretty amazing feeling opening for some of these artists. Stevie Wonder is something I will never forget. The man just exudes so much love and warmth. He inspired me to drop my guard on stage and to be open and outward in sharing love and good energy with the audience.

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I know you have a busy tour schedule coming up. Is the road somewhere you like being? Are you looking forward to coming to the U.K.?

I currently love being on the road. It’s where I want to be for a good while. I’ve spent the past few years working on recordings and being home - so I feel all this pent-up energy and just want to keep busy out here.

Super-excited to be back in the U.K. again, doing a more elaborate tour here. I did my first tour ever in the U.K. back in 2007, I believe. I have such fond memories of it. It was just me and an acoustic - and a tour manager by the name of Chas. We drove in a hybrid car…

It was a special tour for me.

What do you hope to achieve in 2018?

I look forward to putting out more new music and (to just) play a lot more. I’d like to start making headway on new songs and to (just) keep things rolling.

If you had to select three albums that stand out to you; which would they be and why?

Leif Vollebekk - Twin Solitude

Such a natural-sounding album…fantastic songwriting and delivery. My go-to and favourite album of 2017.

The War On Drugs - A Deeper Understanding

Amazing, driving energy. Love the energy on this album.

Nick Drake - Pink Moon

So comforting. Perfect for a rainy or quiet day.

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Have you got a favourite memory from your time in music – the one that sticks in the mind?

So many great moments…

Years ago, we were doing a gig in (I think) Lausanne, Switzerland. We drove through the night and I made a point that I wanted to be the navigator. We arrived as the sun came up on the top of a mountain. We couldn’t drive our van into the town of (Zurmat, I believe) and finally discovered I had entered the wrong hotel branch. It was a stressful night of driving and we all got into a big fight.

I was scared to let them know I put the wrong address in but, once I did, we all cried and hugged. Luckily, the actual hotel was only forty-five minutes away…we drove down the mountain to incredible sights and made our way to the festival to play that day.

What advice would you give to new artists coming through?

Don’t make long-term commitments…take a lot of care with your sound and long-term vision and, also, with who you bring onto your team.

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IN THIS PHOTO: Leif Vollebekk

Are there any new artists you recommend we check out?

Leif Vollebekk, if you haven’t heard already. My younger bro Henry Nozuka is putting out some new music, which I think is really special.

Do you get much time to chill away from music? How do you unwind?

I like to do stuff separate from music - biking, playing ice hockey; reading and playing chess. These things help keep me in a good spirit.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Leif Vollebekk - Elegy

Hope you enjoy!

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INTERVIEW: Post Louis

INTERVIEW:

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 PHOTO CREDIT: Maya Sacks 

Post Louis

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THERE are many aspects of Post Louis…

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that compelled me to dig deep and get to know them better. I ask, firstly, about their new track, Little Jack, and the story behind it. I was curious to know why a stunning church plays a part in their world and music; how the band got together and have progressed; if they are looking ahead regarding more material – where we can catch them perform in the coming weeks.

The band – Stephanie fields most of the questions – reveal how their sound has mutated and what music they grew up around; if there are any new artists worth a shout – why they recorded Little Jack in a rural location with basic recording equipment.

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

Stephanie: It was alright, thanks. This week, I learnt about penal reform, Cynthia Nixon’s biography and how to backup my Helicon vocal unit – so, I can’t complain.

How was your week?

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

We are a five-piece called Post Louis. We’re from all over the place, but do most of our work in London.

I front the band. Robbie and his brother Andy both play guitar. Mattis plays drums and Adam plays bass.

Little Jack is out. What is the background to the track?

I had been experimenting with writing in other voices - and Little Jack came from that. Essentially, it is a character-study of someone who lives, mainly, in their own head. It’s about the pains of loneliness and low confidence and what happens when these mix with naïve sexual desire. I wanted to hint at the potential for harm, or even domination.

I have said elsewhere that Little Jack isn’t a monster, but the song is, in part, about how monsters - or wolves - are made. I believe we need to rethink how we make, force and mould some children into being ‘men’.

These are questions I’ve been thinking about for a while…and that I think are circulating in public discourse now in a way that is interesting, inspiring and troubling all at the same time.

It seems the song came together in a very simple surrounding – a basic tape recorded and a rural location! Did you feel the desire to strip away extravagances and luxuries to recharge, in a sense?!

Well. The ability to escape to the countryside like that is, arguably, quite a luxurious and lucky thing to do! But, yes - writing is labour (albeit, amazing labour), and it’s easy to side-line in favour of other less challenging things. So, Robbie and I decided to go away, stare ourselves down and get the core of the songs right.

Was it daunting following up your E.P. – one that gained huge critical acclaim?!

All of this is daunting: the whole process of putting oneself out there. I believe in the music, but the industry is hard work - and here, I come back to labour again. We all work other jobs, as do almost all the musicians I know - even the brilliant ones, even the signed ones. So, it is sometimes daunting working out how to keep standards high and keep dedicated when you are often busy and tired; the timelines are very long.

It’s worth it, though. I should say that, while I’m proud of that E.P., I think these new songs are a whole lot better than our old stuff. I hope people agree…

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PHOTO CREDIT: Maya Sacks

Is there more material coming later in the year?

Yes!

How do you feel songs like Little Jack differ to your previous work? Have you noticed an emotional and sonic shift in the band?

Emotionally, things have got darker and more personal. That was a deliberate choice. Irony doesn’t come easily to me. The darkness felt appropriate. You know, sometimes you have a bad year.

As for sonically…we have a solid five-piece line-up that hasn’t shifted for a few years; so, Adam, Andy and Mattis’ personalities and playing styles are really important now. Beyond that, we haven’t consciously changed the sound. We want to just do what we were doing before, but better.

How did Post Louis get together? When did you all meet one another?

Robbie and I have known each other for years and started making music at university. It went through loads of incarnations, from acoustic shows (just the two of us with a guitar) to performances with a string quartet and full band; back to a version with just the two of us on stage - but this time, making loads of noise with loopers, guitar pedals and synths…

When we moved back to London, we started playing with various different friends of ours. This was when Robbie’s brother Andy, who is a bit younger than us, started playing with the band. Eventually - deciding this project was very much a ‘band’ band and not a duo - we advertised, in the hope of finding two more fixed members. We put posters up at music colleges in London. I think we had some romantic idea that we might find a ridiculously-talented, classically-trained double bassist who wanted to plug in. In the event, we found a ridiculously-talented Punk bassist from Glasgow, namely Adam, who was working at the Royal Academy of Music box office and saw the poster.

I can’t remember how we found Mattis. As I told him the other day, I recently found my notes from the first time Robbie and I met him. They say ‘possibly a perfectionist?’ in the margins...  

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PHOTO CREDIT: Jacob Perlmutter

Give me an impression of the music you grew up around. Which artists did you all fall for at a young age?

At a very young age, I loved anything that was on Magic 105.4 - especially Elton John. I vividly remember coming back from a family holiday on a fateful winter day in 1998, getting in the family car at the airport and driving back home. We scrolled and scrolled through radio stations but my dad couldn’t find much-loved ‘Melody FM’. Eventually, our tired brains must have realised that the combination of Soft Rock, Soul and Lighthouse Family emanating from, what seemed to be called ‘Magic FM’, was the result of a sneaky re-brand.

Andy: The first tape I really remember loving was a Rock ‘n’ Roll compilation, The Best Rock ‘n’ Roll Album in the world…ever! After that, there was a lot of David Bowie, The Beatles and Simon & Garfunkel…and The Offspring.

Mattis:  The Rolling Stones, Creedence Clearwater Revival and Neil Young.

Robbie: Like Mattis; I was really into the Stones. My dad took me to the Bridges to Babylon tour when I was nine. Seeing Jagger strutting over a big silver bridge into the middle of Wembley Stadium blew my head off. I’ve still got the big red tongue that doubles as a glove/cushion somewhere.

Adam: I was lucky enough to have music-loving parents; so I grew up in a house of David Bowie, Prince; The Beatles, Leftfield, R.E.M. and Nirvana (to name a few). As a result, I’ve always been fascinated with music; listened to quite a lot of Pop music, Tim Westwood’s Hip-Hop radio show and, of course, growing up in the mid-'90s, the whole Blur vs. Oasis Britpop thing (the answer is ‘Pulp’, by the way).

Looking at some press shots; it seems a Norwegian church building has become a bit of a home/base. Tell me more about that…

Mattis: I live and work part-time at The Norwegian Church in London. We have been lucky to make use of the space there, both for rehearsals and as a small, intimate space for friends and family…and…the waffles are really good!

Adam: I also lived at the church for a time with Mattis, who literally took me in when I was pretty much homeless, due to the end of a long relationship. I slept in a cupboard under the stairs like a very unromantic Harry Potter for about three months until I finally got a proper room there. For a while, it was like a small commune of people you wouldn’t generally associate with a church, but it’s where I’ve met some amazing people…so it will always be a special place for me.

Having it as a rehearsal space is just the cherry on top.

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IN THIS PHOTO: Gurr

Are there any new artists you recommend we check out?

Sure, loads: it’s kinda my job these days. I love Gurr from Berlin, who are about to release their second album - and are touring with Shame and The Go Team! But, also, closer to home; I’m a big fan of Sauna Youth and DANCEHALL in London and, in my spiritual home of Glasgow: Anxiety, Freddie Quell and a brand-new band called Puppy Fat are all great (and not just because I may or may not have played with most of these people in the past).

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IN THIS PHOTO: DANCEHALL/PHOTO CREDIT: Keira-Anee Photography 

Can we see you tour soon? What gigs do you have coming up?

Stephanie: We’re playing a headline show with Parallel Lines on 27th April. It should be special - we’re curating the whole night with D.J.s until late. All the artists involved are friends of ours; some of whom, we’ve worked with before. You should come down and have a dance...

What do you each hope to achieve in 2018?

Adam: Probably the same for all of us: release more music and tour off the back of it.

Robbie: I’ve spent a long time hunkered down, mixing the new songs. So, in what’s left of 2018, I’m also looking forward to playing them live again, stripping them back to their raw essentials and gaining some perspective in doing so. 

Have you all got a favourite memory from your time in music – the one that sticks in the mind?

This is nerdy. I once had to play J.S. Bach for an audience where I knew Alfred Brendel (who is an all-time favourite) was watching. It was terrifying but really transformative.

Andy: Putting out songs is always really exciting. Even though there’s the risk that it might not be as well-received as you’d like, it’s such a great feeling to share something that you’ve been working on for a long time and that you’re proud of to the world.

Mattis: When I played KOKO with Toothless, the sound was spot-on!

Adam: Oh man; too many to mention.

Music’s pretty much been my entire life since I was a wee guy. Getting to see Interpol play Turn on the Bright Lights (my favourite album) last year was pretty special, though. As for me personally; I appreciate any moment or memory I have with regards to music, but I guess putting out my own record (FRAUEN) last year was pretty special.

Stephanie: Getting on stage with Post Louis for the first time...

We were supporting Daughn Gibson at Birthdays. There were sound issues. Nothing about it was that remarkable. I’m sure we made loads of mistakes. But, for me, it was an electrifying moment.

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What advice would you give to new artists coming through?

Andy: I don’t have any advice but, if anyone else does, then if they could forward it to me then that would be great.

Adam: Run! No, but, seriously: fight for your rights as young artists and keep spaces to perform and practice music alive.   

Do you get much time to chill away from music? How do you unwind?

Relax with a big bag of cans with the boys (note: I call everyone ‘boys', even Steph…she probably hates it).

Stephanie: I try and fight the big fights...     

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

Adam: Desire by Ought; which is going to take some beating for the 2018 title of Song of the Year for me. It’s a wee masterpiece.

Mattis: Tempesst - Waiheke

Andy: James Taylor - Your Smiling Face

Stephanie: Matthew Wilder - Break My Stride

Robbie: Huerco S. - A Sea of Love

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INTERVIEW: Tom Anderson

INTERVIEW:

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Tom Anderson

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I have been conversing with…

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a fantastic Liverpool-based artist whose music is turning heads right now! Tom Anderson talks about his new track, Safe & Sound, and what the story behind it is. I ask what the music scene is like in Liverpool; if there are any new artists he would recommend we check out – what comes next from the talented songwriter.

Anderson tells me about the intriguing Polyphonica project and how he is helping develop it; how he got his start in music; whether he gets any chance to kick back away from music; how he feels his material has developed in a short time – he ends the interview with a rather spiffing track!

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

Hi! Great, thanks. Been working with some really cool artists this week - SPINN, Josh Goddard; 2ME and Stephen Geisler – so, it's been a busy one. Going to see Jessie Ware in Manchester with my girlfriend tonight – so, it's about to get even better. 

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

I'm Tom. I used to be in a band called Venus Demilo - and I now write and produce with other artists, as well as working on my own solo project. 

Safe & Sound is your new single. Give us an insight into its story and creation.

The song was written a few months back before I went out to go and see my friends from back home. At the time, I was pretty stressed and the excitement of seeing those guys inspired the song. It's basically about how, no matter how hard things can get in our separate adult lives; when we come together once every few months to forget about all of that and act like we're fourteen again, it can be a very grounding moment. 

How do you feel Safe & Sound develops from your debut single? Were you surprised by the widespread acclaim it received?

I think, in terms of the lyrics, the new song is a bit more reflective of what I'm really like. The reviews on the last single were incredibly kind and that gave me a huge boost to know that what I'm doing is the right thing. 

What comes next in terms of material? Are there more ideas forming?

There are. I've just decided that I'm going to release as much music as the Internet can take over the next few months; so, I'm going to try and drop a new tune every two weeks until the summer. 

Tell me about your musical beginnings and the artists you grew up around. When did music arrive in your life?

I've been writing songs for as long as I can remember, as my dad was always playing when I was growing up. It was a lot of Beatles, The Police and Queen in our household (and still is).

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How important is Liverpool and its history to your musical ambition?

I came here for the first time when I was ten. We did the Magical Mystery Tour bus, the museum and everything else Beatles-related in Liverpool (which is quite a lot). Since then, I've been always been a massive fan. I grew up listening to The Coral; so it's cool working in the same place as them at Parr Street.

Now and then, if you look at what's going on with other artists like XamVolo, Jalen N'Gonda; Clean Cut Kid and Vryll Society (I'll stop the list there because I could go on for a while…), then it's a very exciting place to be. 

What does Polyphonica involve? It sounds like an interesting platform...

Polyphonica is a music platform I've been working with closely which helps with artists on creating content (pretty much everything on my Instagram is thanks to them). They've worked with a few emerging artists around Liverpool now and I think, over the next twelve months, it could become the go-to place online to find out what's happening in Pop music, generally, around the North West.

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Can we see you tour soon? What gigs do you have coming up?

I'm announcing tour dates for July early next month - currently planning on hitting up Liverpool, Manchester; Leeds, Birmingham and London. 

What do you hope to achieve in 2018?

To get some people into my music! 

Have you got a favourite memory from your time in music – the one that sticks in the mind?

When we were doing Venus Demilo, we played a house party for some LIPA students at a famous student house in Liverpool called The Lodge. Everyone was going mad and the floor was literally bouncing. That was pretty cool. 

What advice would you give to new artists coming through?

If there are more experienced people around you, listen to their advice - but you don't necessarily have to take it. 

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Are there any new artists you recommend we check out?

2ME is just about to release his debut E.P., which is sounding incredible. 

Do you get much time to chill away from music? How do you unwind?

Not massive amounts but, if I do, then I'll either spend time with my girlfriend and my dog - or playing FIFA. 

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Jalen N'Gonda - I Need You

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Follow Tom Anderson

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INTERVIEW: Field Report

INTERVIEW:

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Field Report

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THEY are one of the most exciting…

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and engaging bands around right now. Chris Porterfield of Field Report talks me through the band’s latest L.P., Summertime Songs, and how it feels knowing it is out. He discusses the themes that go into the record and how Field Report got together; whether there is a big music scene in Milwaukee (where they are based) – what they have planned regards touring.

I ask whether Trump’s leadership and U.S. politics affect their music; Porterfield shares a great moment from his time in music; how he spends his time away from music; if the band all share tastes in music – the advice he would give to new artists.

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

Hi. I am doing well. Just getting ready for a week in Texas at South by Southwest next week.

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

My name is Chris Porterfield. I write and sing - and play the guitar in a project called Field Report.

Summertime Songs, your new album, is out. Are you excited it is completed? What was it like recording the album?

I couldn’t be more excited to get this album out.

We recorded it at a studio in Milwaukee called Wire & Vice over the course of a few months in 2016. We were there working most days: writing, gathering; recording, trying new ideas; killing bad ideas and responding to the work from the day before. 

What sort of themes and ideas compelled the songwriting?

There are a lot of narrators in various stages of relationships ending or changing.

Will there be any singles coming from the record? What are your plans on that side of things?

Yep. Three singles are out now already. Get them while they’re hot.

Take me back to the start. How did Field Report get together?

The first Field Report record came out in 2012. I’m the only original member left - people get busy and priorities change. But this lineup, Thomas Wincek on Keys, Barry Clark on Bass and Devin Drobka on Drums, is the best I’ve ever had. I’ve never been in such a good band.

I hope we can keep this lineup in place for a very long time.

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You guys are based in Milwaukee. What is the area like for music? Is it quite a busy scene?!

Milwaukee is a big enough city to have clubs to play in and for touring bands to stop through - but small enough to keep a low profile until you’re ready to share something with the rest of the world. There is a great creative community here and home to many amazing players, writers and artists. It’s been a perfect incubator for Field Report.

It’s also in the middle of the U.S.; so we can easily route tours for a few weeks on the East or the West Coast.

Do you all share tastes in music? Who are the artists you all grew up around?

I’m fundamentally a ‘songs’ person - I grew up with singer-songwriters like Joni Mitchell, Paul Simon and Leonard Cohen. Tom and Barry both have Electronic projects and Barry is a Classical double bass player. Devin is a Jazz drummer. We all overlap, too, but everyone has their wheelhouse. It’s important to me to have influences in the band beyond my own idioms - it keeps ideas fresh and exciting.

How much of your music is affected by politics and what is happening in America? Do you get riled by the situation at present?

Music and politics are inextricable.

Music is how we view the world: politics is a tool to shape the world. They mix all the time. Songs are political acts. There is a lot of parallel narrative about America in all of the breakups and relationship changes on our record. What is happening in America now is terribly upsetting, damaging and embarrassing. The majority of us here have just enough faith in the institutions of democracy to muster the patience to wait this mess out.

I am trying hard to believe that this awful moment will motivate a new generation of American leaders to get involved and right our course.

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Can we see you tour soon? What gigs do you have coming up?

Lots of American gigs for now...

Do you think you’ll come to the U.K. this year? Are you a fan of British music?

I hope so! I love the U.K. We got to come to the U.K. a few years ago supporting Jeff Tweedy. We had our own London gig, too, and Frank Turner came out to see us. It was a highlight for me. One of my favorite bands ever is The Blue Nile from Glasgow. I think there are moments on our new record that wouldn’t be out of place on a lost Blue Nile record.

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What do you hope to achieve, personally, in 2018?

I hope that people hear our new record and find it a useful and exciting tool for discovery - and that they come out to our shows so we can be in the same room and explore the songs together.

Have you got a favourite memory from your time in music – the one that sticks in the mind?

I was a part of a John Prine review at Eaux Claires festival last year. I was rehearsing with the band for the show the day before at April Base. We were in the middle of running the song I was leading and suddenly the energy in the room changed.

John Prine sauntered into the barn, walked past the band and right by me; pulled up a chair about five feet in front of me and sat down. He liked the arrangement and told me so. That was one of those moments that this job occasionally blesses you with.

What advice would you give to new artists coming through?

The only thing that all active artists today have in common is that they did not stop. Just don’t stop. Keep doing better work and keep trying to find your audience. That’s really all there is to it.

You never arrive at a place where you can coast...

Do you get much time to chill away from music? How do you unwind?

I have a one-and-half-year-old daughter who I stay at home with - unless I’m on the road. She takes up pretty much all of my time. I read a lot. I like coffee a lot. I also like watching NBA basketball (go, Milwaukee Bucks!). 

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

The Blue Nile - Stay

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Follow Field Report

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INTERVIEW: Lyndsay Pace

INTERVIEW:

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Lyndsay Pace

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AFTER speaking with a Canadian artist who has created…

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an emotional and deep mini-album; I get to shine a light on the Maltese songwriter, Lyndsay Pace. She talks to me about working with Beehive Productions on the Butterfly E.P.; whether there is going to be more material coming up; what life is like for a songwriter in Malta – if she will come to Britain and perform in 2018.

Pace discusses her music idols and tastes; how her music has developed over the past couple of years; how she gained that incredible affinity for the stage and audiences; if there is a favourite musical memory from her time so far – the Maltese songwriter reveals how she spends her time away from music.

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

Hey (smiles). I’m good, thanks - always keeping busy with studio work and gigging around!

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

I’m a singer/songwriter/recording artist/vocal-tutor hailing from the Mediterranean island of Malta. I always had an ultimate passion for music; carrying my natural presence and self-confident abilities through each of my stage performances. I like to differ from the other acts in the local music industry by bringing about a certain aura; a professional one which incorporates stamina, attitude and pure energy.

What are you working on at the moment? Is there new material in the pipeline?

Yes, definitely! I love making records and, in fact, I will be going abroad to Switzerland next month to record my upcoming E.P./album in collaboration with an independent B2B music company, Move Productions - who have been interested in working with me.

I’m very excited about this new project!

How do you think your music and songwriting has developed since 2015’s Sick Day?

I believe that I’m growing, musically, and continuously finding myself as an artist - especially when it comes to recording and songwriting. I like to be versatile and keep my options open - but I would describe my main genre as a mainstream sound, whilst combining Pop/Rock and up-tempo tracks.

Tell me about the E.P., Butterfly, and working with Beehive Productions. How did that come about?

I recently had launched my second Pop/Rock E.P. in collaboration with Beehive Productions entitled Butterfly (produced and written by Kenny D’Ugo, Boris Cezek and Dean Muscat). It was recorded at The Villa Brasserie, Balluta Bay in St. Julian’s during the weekly music events hosted by Get It. I have performed a live unplugged session with the trio-band and my fans also had the opportunity to get limited, signed copies as freebies on the night.

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The E.P. compilation includes releases from my repertoire, which have been playlisted on the leading radio stations during the year whilst topping the local charts as follows: Walking on Air, Mr. Vanity; Butterfly and Best Song nominee, Daphne, as a bonus track. It is, now, officially available for downloads on the digital platforms such as iTunes, Apple Music and Spotify prior to the debut release.

You are a Maltese artist. Is there a big and developing scene there? Is it easy to get exposure there?!

Well. We have a lot of talent locally and, although we have a small market, I think the competition is getting bigger and bigger! Personally, I like to see the bigger picture of things - and I’m trying to make the right connections overseas at the moment to expand in my career.

Who are the artists you grew up listening to?

From my perspective, my inspirations generally come from personal experiences and people which affect me in a way that mirrors my opinions about the world. I have influences that include top artists and multiple genres - from Pop music such as Lady Gaga and Bruno Mars; Katy Perry, P!nk; Gwen Stefani, Adele; Rihanna; Demi Lovato and Jessie J, to mention a few...

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You have a natural ability and aura! Did that connection with music and the stage come at a young age?

Well. My talents had been recognised clearly at a young age, as I showed a keen interest in the subjects of drama, dancing and singing - thus, taking up lessons before evolving my hobbies into more of a passion…quickly becoming a serious career. In fact, I also had been taking Speech Level training for years from a number of professional tutors based in the U.K. (and developing further to better my talents).

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Can we see you tour soon? What gigs do you have coming up?

Well. It certainly looks like it’s going to be a jam-packed summer, but I have no confirmed dates yet. So, make sure to stay connected on the social networks for the latest updates!

Do you think you’ll come to the U.K. and play here?

Why not?! I have performed at The Bedford a few years ago and it was such a great experience. I really should get gigging again in the U.K. sometime soon!

What do you hope to achieve in 2018?

I really hope that, in due time, I can set my foot abroad to reach my dreams of becoming an established artist - and share my music on an international level.

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Have you got a favourite memory from your time in music – the one that sticks in the mind?

Hmmmm…well. There are several experiences throughout my career that I can talk about, but my favourite is when I was selected with the top-twenty finalists of the Malta Eurovision Song Contest in 2014 with the song, Home (written and produced by Boris Cezek), which was definitely the highlight of my career - being the most-popular local festival and a major stepping stone for Maltese artists. I would definitely like to participate again in the future!

What advice would you give to new artists coming through?

I have learnt that the most important thing is to always believe in yourself and never give up on your dreams because, at the end of the day, I think that every individual is special in their own unique way!

Are there any new artists you recommend we check out?

There’s just too many to mention!

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Do you get much time to chill away from music? How do you unwind?

Well. I always like to keep myself on-the-go, but I like shopping, travelling and dining out during my free time.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

My all-time favourite song…

Muse – Starlight

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Follow Lyndsay Pace

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INTERVIEW: Marty Zylstra

INTERVIEW:

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Marty Zylstra

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IT is always difficult channelling emotional and personal experiences…

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into a cohesive, original and impressive work. Marty Zylstra tells me about his mini-album, The Dragonfly and the Spider, and the personal loss he experienced around the time of creation/recording. I ask the Canadian musician if he has standout cuts from The Dragonfly and the Spider; whether, he feels, the heaviness and intensity of the music creates a positivity and sense of hope; what it was like growing up in rural Canada – and, in terms of gigs, he has plans to come to the U.K.

Zylstra discusses musical influence and upbringing; some new artists worth a look; what he has planned for the remainder of the year – completing the interview with a rather fine song selection!

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

I'm great! I've been busy working on rehearsing for my launch party on March 31st at Blue Light Studios in Vancouver and, also, doing some podcasting and talking to awesome bloggers like yourself – and, also, attempting to juggle family life (my wife and I have a toddler!) and work etc. etc.!

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

My name is Marty Zylstra. I am an independent recording artist from Vancouver B.C.! My new music sounds like Elliott Smith, Harry Nilsson; John Lennon, and Gord Downie, with a bit of Beach Boys influence. Mom Rock with dad vibes...

The Dragonfly and the Spider is your mini-album. What sort of themes and ideas compelled its creation?

Originally, I had been releasing a song at a time kind of building up a catalogue and carving out my solo career starting, in about, 2013. I played some shows and stuff and was kind of ‘getting there’ if you will - and then found out my mom had cancer. It halted the whole process and stopped me in my tracks. Her and my dad lived with us for about six-eight weeks as she was going through treatment in Vancouver. 

Then, about nine months later, my sister died also of cancer. This was all within a short, crazy period of time. The last thing on my mind was music, but I had been writing a lot and some of the ideas were developed into songs on this record.  

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I know you experienced devastating loss in a short time – losing several relatives. Did that shock force you to write and put your emotions into music?!

Yeah. The theme of grief may or not be all over this record - but I think there is a light in the dark. I would hope that how you feel after listening to the E.P. in its entirety is how I felt through the journey of grief. 

What was it like working with JP Maurice at Blue Light Studios?

He's a great producer for me because he is a songwriter first.

He was definitely able to bring out the best in each song and willing to try new sound experiments. He also speaks ‘Beatle-ese’ which makes it easy to discuss sound ideas based on music that we both love (The Beatles).

Is there a cut from The Dragonfly and the Spider that stands out? Which one do you bond with the hardest?

Moon stands out because it was such a simple idea at the beginning: just acoustic guitar and some weird whimsical lyrics about space. That being said, it has deep meaning for me talking about escaping the situation you are in and finding Heaven. Themes of God and Heaven from a childlike point-of-view. 

Wild Ones was the one that took the most time to figure out. It was the oldest song of the group of tunes and the arrangement is so simple - but, I think it's the ‘least like the others’.

Do you think the heaviness and emotional outpouring, in a way, is designed to get the listener thinking about positivity and change?!

Yes. I know that even more now after going through personal therapy for my own grief. When I listen back to the album, there is a sense of hope at the end. I would want people to feel like there is a light at the end of the tunnel after the loss of loved ones or going through difficult challenges.

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You grew up in a rural area of Canada. Was music a big part of your early life? How did the scenery and setting shape your desire to be a musician?

My first-ever musical instrument was my dad's Thorens TD160 record player (for all you vinyl aficionados). I was about (a) one-year-old when I learned how to put on records by The Carpenters. I've seen a lot of the country, having travelled as a kid. It was less common to fly from, say, Vancouver to Toronto in the 1980s, and so, we used to pile in the family wagon and tent across the country to visit my aunt and uncle and stuff. (B.T.W., my wonderful cousin Aaron sings on my song, How Could I, and he sounds beautiful). 

Music has kind of always been there. Seeing the country and having different experiences definitely allowed me to be able to have an open mind about creativity

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Can we see you tour soon? What gigs do you have coming up?

As mentioned above; I’m playing at Blue Light Studios for one of their amazing and intimate Blue Light Sessions events on March 31st. There will be other gigs announced soon, so stay posted!

Will you come and play the U.K. sometime this year?

Ideally, the answer is ‘yes’. My good pal Finn McConnell is from the U.K. (he played cello and keyboards on the E.P.) and he is always attempting to twist my arm to get over the pond.

What do you hope to achieve in 2018?

I start work on E.P. number-two in June. I hope it gets finished! I'm also hoping to put an acoustic covers E.P. out soon too. Stay tuned.

Have you got a favourite memory from your time in music – the one that sticks in the mind?

Many. I love writing songs and, when track-two was written, it flowed out of me and I wrote it in the time it took to play it. So quick. Creating music is amazing because, one minute there isn't a song and then, the next minute, it's there. 

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What advice would you give to new artists coming through?

Continue to learn songs and listen to music out of your comfort zone. 

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IN THIS PHOTO: Bend Sinister

Are there any new artists you recommend we check out?

Dom Fricot, Bend Sinister; JP Maurice; ACTORS; Ultrviolence and Wazonek (all from Vancouver/Canada!).

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IN THIS PHOTO: JP Maurice/PHOTO CREDIT: Jen van Houten

Do you get much time to chill away from music? How do you unwind?

I like to run/exercise and spend time with my family the most. But, in cliché fashion, I'm an avid hockey lover and follow the sport really closely.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

You should play a song from ACTORS’ new L.P. called We Don't Have to Dance - it's in my current playlist!

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Follow Marty Zylstra

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INTERVIEW: Fight for Friday

INTERVIEW:

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Fight for Friday

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A tremendous band with a new E.P. on the horizon…

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it was a great reason to speak with Fight for Friday. Released on 11th May; the band’s sophomore E.P., Someone You Could Trust, promises to be a pretty epic affair. I ask them about the E.P. and the story behind the latest single, Headache. The guys talk about borrowing from The Wonder Years; how Fight for Friday came together; what gigs they have booked – which artists they all grew up on.

I ask what one could expect, were they to attend a Fight for Friday gig; if they get chance to chill away from music; the advice they would give to new artists; whether the North of England gets the credit it deserves – they end the interview by selecting some fantastic songs.

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

Sol: Pretty good. It's been super-hectic since we announced the E.P. - but we're just about keeping up.

Matt: Not bad. We’re all feeling pretty snowed-under at the moment but, having just shot a music video, we’re really stoked to show everyone what’s next!

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

We're Fight for Friday and we're a Pop-Punk band from the Lake District; we've been making music together for the best part of five years and we're currently in the process of releasing our second E.P., Someone You Could Trust (out on 11th May).

Members:

Matt (A.K.A. ‘Gee’) - Drums

Lloyd - Lead Guitar

Seb - Vox

Sol – Bass

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Someone You Could Trust is your new E.P. How do you think it differs from your debut – in terms of sound and ambition?

Sol: I think all of our earlier releases, so far, were kinda leading up to this one in terms of our sound - and we've really found something we're happy with on this one.

Thematically, it's really representative of the last year or so of our lives, as a band and as individuals.

Matt: We’ve definitely done a lot of growing up for this record. The past few years have been one huge learning curve, not only musically but personally, too; becoming adults and realising that you can’t wait for things to be handed to you on a plate.

We’ve finally reached a point where we really know where we want to go as a band - and you can definitely hear that on the record.

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What sort of themes and ideas compelled the songwriting on your latest work?

We definitely looked deeper into the songwriting this time around. Instead of chucking into a song whatever comes into our heads first; we looked back on personal experiences, how we dealt with certain situations; the desire to be something and, in more than one song, the feeling of being used - alongside taking things as they come.

How important is the Wonder Years’ song, where the title comes from, to you and the direction of the E.P.?

Sol: The name was, mostly, a last-minute decision. We were about to start the release campaign for the E.P. and we desperately needed to think of one. I’ve been listening to TWY (The Wonder Years) all winter, so I decided to put on one of their albums for inspiration - and it just kinda came together. It definitely fits the themes of the E.P. - and we think it’s a cool homage to one of our favourite bands.

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Do you have a standout song from the E.P.? Which song, to you, defines Someone You Could Trust?

Matt: Honestly, I’m split between Headache and Target Practice. If you want to predict what our future sound is going to be, expect something along these lines! We wanted to take fans on a journey through this E.P., start to finish, and come out of listening to it with a sense of fulfilment. It’s a rollercoaster of emotions through and through but, for me, I think the two tracks I named allow the E.P. to be called 'Someone You Could Trust'. Without them, the record would feel a whole lot different...

If I had to make my mind up; I’d go with Target Practice, as I’ve been psyched about that song from the day we wrote it.

 

Headache is the lead single. What is the story behind it?

We took heavy inspiration from Chester Bennington's death for this track and used that as a reach into the mental-health aspect of how, when nobody is around, that can seriously affect your positivity and mental-state and, even though you’re not in a good way; there's always someone there for you if you need help. It’s not always a case of you asking for help: more, for someone else to see if you’re alright.

How did Fight for Friday find one another? Can I ask where that name comes from, too?

Lloyd: Gee and I were in a band back in year-seven/eight (2009/2010) at school, which later reformed with Sol and Jake in 2014 (who, later dropped out and doesn't play with us anymore) and, because I didn’t want to sing, I got my friend, Seb, from drama club to join as the singer/frontman - almost a year after the band had started jamming together.

The name came from a conversation at a practice - as we always practised on a Friday night after school. At the time, we said we would “fight through the week for Friday”. But the name, more or less, just happened - and it’s stuck ever since.

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You hail from Cumbia and Manchester. Do you think the North, and its music, gets the respect it deserves?

Matt: It’s definitely fair to say that we feel trapped where we come from. Obviously, that’s a cliché in our genre, but there’s literally one road in and the same road out of our town; with it also being forty-five minutes away from the motorway. As you can tell - it isn’t the combo one would hope for. There isn’t a scene for our music round here, which is why we are moving into Manchester the best we can. With Lloyd going to BIMM university; it’s opened a few doors for us to get a following down there.

That said, there's plenty of hidden gems up here waiting to be found; some of which don’t deserve the minimal attention that we get being locked away in our corner.  

Which artists did you all grow up around? Who would you count as idols?

Sol: I’ve been into Punk-Rock pretty much since I could choose what I wanted to listen to - bands such as Rancid and The Clash. Then, I got older stuff like No Cash and Choking Victim. I only really got super-into Pop-Punk in my mid-teens when I saw other local acts (and the scene that was growing at the time).

Lloyd: Bands I grew up with are Bon Jovi, McFly, Guns N’ Roses, Whitesnake; Foo Fighters, Metallica; AC/DC…bands that let guitarists express themselves, musically, and inspired generations of guitarists.

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Matt: I’ve been into Pop-Punk my entire life - without realising it until I got older. My dad set me up with an iPod and bought me Dookie when I was about five or six, and I couldn’t get enough. Only when I turned sixteen, though, was when I really got into it; starting with Blink-182 as a gateway, then diving into the genre and finding the likes of Neck Deep, ROAM; A Day to Remember, Sum 41 and countless more. Ironically, (these bands are) all of which I have been to see live, aside Green Day - the first Pop-Punk band I ever listened to.

Can we see you tour soon? What gigs do you have coming up?

Sol: We have some plans for a tour in the works for July. We also have a bunch of dates coming up - including a show at the Bobbin in Lancaster and one with Coast to Coast and Catch Fire at Satan's Hollow in Manchester, which we're super-excited about.

If anyone wants to know more, they can check out our Facebook page or Instagram for dates we have coming up. There’s a lot of behind-the-scenes stuff; so make sure you keep an eye out. We have some big gigs T.B.A.! 

27th March - Atomic, Wrexham

26th April - Satan’s Hollow, Manchester

1st June - the Salty Dog, Northwich

13th July - The Bobbin, Lancaster

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If someone wanted to come and see you play – what could they expect? Does the band have an outrageous rider at all?!

Matt: We like to put on a show.

When we were first starting out, that’s was, easily, one of the things we always worked on as a group - and we love having a high-energy, pumped atmosphere between members. But, we love it when the crowd gets involved, too, and that’s what we always work towards at every show.

Sol: I don't think we've ever been in a position to demand an outrageous rider: free beers and bottled water are always nice.

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What do you all hope to achieve in 2018?

It would be nice to have some people listening to and enjoying the music we made. We’ve worked really hard on this E.P., so it would be nice to know that other people like it as much as we do.

Matt: 2018, already, is off to an overwhelming start. The response to Headache has been insane - and it’s only the tip of the iceberg. I’d really like to see people enjoying our music and telling us what it’s done for them. A personal goal would be to get on bigger support slots/tours and, maybe, get a European date?!

Promoters, if you’re out there...you know where to find us!

What advice would you give to new artists coming through?

Keep your chin up high. It’s a very competitive market, so don’t think anything of it when you get rejected for something you wanted...because it literally happens to everyone. Just make sure you’re working the hardest you can and you’ll soon get going in no time.

There’s always another opportunity waiting...

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IN THIS IMAGE: The artwork for Wolfpeake's Strings/ART CREDIT: Lucy Ball

Are there any new artists you recommend we check out?

Sol: Our friends in Wolfpeake are doing some really cool stuff right now. They're defo worth checking out.

Do you all get much time to chill away from music? How do you unwind?

I think playing music is how I unwind. Hopefully, that won’t change if things start getting a bit more serious for us.

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Matt: Holding up a full-time job alongside this is, honestly, the hard part; so I have to agree with Sol and say this is how I unwind. There's something about playing live shows that you can’t get from anything else - which keeps me on my toes…

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

Sol: The Wonder Years - When Keeping It Real Goes Wrong

Matt: ROAM - Over Your Head

Lloyd: Guns N’ Roses – Mr. Brownstone

Seb: Neck Deep - Staircase Wit

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Follow Fight for Friday

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INTERVIEW: Mica Millar

INTERVIEW:

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Mica Millar

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FEW artists dedicate their songwriting time…

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to recognising heroes in society. Mica Millar’s The Defender points the spotlight towards the stalwarts out there. She talks to me about the song and the project she has underway; what it was like working with Goldie on the recording; whether there is new material coming later this year – why her current song has a very personal and revelatory quality.

Millar recommends a new artist and reveals what she does away from music; what she hopes to achieve in the remainder of this year; how important Soul music is to her – she tells me when music came into her life.

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

It's been a very busy week with lots of ups and downs, to be honest – but, overall, it's been productive!

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

My name’s Mica Millar. I'm a songwriter and vocalist from Manchester. 

The Defender is your new track. What is the background of the track? 

I wrote the song around ten years ago. It's been performed and produced in quite a few different versions, but I started developing it in the last two years for my forthcoming album. It's one of the songs I've always wanted to release. I worked on the recording, production and arrangement and then sent it to Goldie and James Davidson (together, known as Subjective), who loved it and said they would work on some additional production and mixing for me.

I believe Goldie was part of the recording! Was it pretty cool working alongside him?

Goldie is an amazing artist and it was a real privilege to have him work on the track with his engineer James. He really helped take the track to another level.

The Defender has another aim: to raise awareness for societal heroes. What was the reason for spotlighting this area? Have you had an experience where you have helped a stranger – or being aided by one?

This song was, to some degree, about me doubting humanity and questioning why people weren't more empathetic. Ten years after writing it, I now know that when people seem to show a lack of empathy, the reasons are very complex - it's not as simple and good and bad. I wanted the campaign to explore those complexities and tell stories of empathy.

When people help or save someone they don't even know; to me, this is one of the best examples of empathy - despite any ideas about self-preservation, not wanting to ‘get involved’. Some people in the world will act selflessly to help others. 

I'm going to be releasing my own story about being saved by strangers in a video online soon - so you'll have to wait for that one, I'm afraid.

The music video for The Defender seems like a very personal and important collaboration. Tell me more about it…

I decided I wanted the music video to incorporate people who had experienced saving or being saved by a stranger - to talk about empathy and discuss how social, cultural; political and psychological factors impact human behaviour. I think it's both a fascinating and very important topic. I collaborated with director Simon Brooks on the music video - and with an amazing team who are working on the documentary with me.

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Is there going to be more material coming before the end of the year?

I'm recording my album in May and I hope to release it soon! There will be more another single later this year, though, which I'm really excited about.

Do you feel you have entered a new creative phase as an artist? Are there any similarities between who you are now and who you were at the start of your career? 

I think, as an artist, you're always developing. At the core of my music is me, because I've always written honest songs. My view of the world has of course developed - but I'm the same person.

When did music enter your life? Which artists did you grow up around? 

My dad is a musician - so there's always been music in my life. When I was about seven, my auntie gave me her old record player. I remember my mum and dad discussing which three records I should have. They choose Stevie Wonder, The Beatles and The Beach Boys.

I can't remember which albums they were but they were absolutely the foundation of my introduction to music.

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How important is Soul music, past and present, and the heroes/heroines of the genre?

To me, Soul and Gospel music is at the root of all music, so it's fundamental above any other genre. Since I started listening to Stevie Wonder at seven-years-old, I think I became attuned to that kind of spiritual, soulful music and, even as a child with Hits ‘95 or whatever, the songs that were influenced by Gospel and Soul were my favourites. When I hear old Motown records, it just doesn't get any better than that for me.

Can we see you tour soon? What gigs do you have coming up?

I'm doing three single launches for The Defender: 4th April at Band on the Wall in Manchester; 8th April at Leaf on Bold Street in Liverpool and 10th April at The Wardrobe in Leeds. I'll be performing with my ten-piece band, which I'm really excited about. For the first time, I've added violin, cello and guitar to the line-up - so it's going to be a much bigger show this time!

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What do you hope to achieve in 2018?

I'm going to record my first album in May; so that's my main aim for 2018, which will be a huge accomplishment for me. I'm going into the studio with Lewis Hopkin, who I was introduced to by Goldie. His passion for my music and energy is absolutely amazing; so, I feel really positive about how the outcome will be.

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Have you got a favourite memory from your time in music – the one that sticks in the mind?

There are so many - it's always a bit of a rollercoaster. But, from the past year; I think finishing (the year) performing with the BBC Philharmonic Orchestra (to represent BBC Introducing) was a big highlight.

What advice would you give to new artists coming through?

I think authenticity is really important. Be who you are: don't compare yourself to other people. Just focus on what you're doing, support other people and, most importantly, enjoy the journey!

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Are there any new artists you recommend we check out?

I played a show at iluvlive in London last week and I saw a very young artist called Tora - who is an incredible vocalist and songwriter. She hasn't released any music yet, but you should watch this space. Some people are just outstanding…and she is one of them.

Do you get much time to chill away from music? How do you unwind?

I don't get that much time to chill during a release period because I do everything independently; including releasing my music and putting on my own shows. I've actually just started having hypnotherapy for relaxation and it's amazing.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Aretha Franklin - You Send Me

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Follow Mica Millar

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FEATURE: “I Can’t Get No…”: The Wonders of the Musical ‘Release’

FEATURE:

 

“I Can’t Get No…”

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ALL PHOTOS (unless credited otherwise): Unsplash 

The Wonders of the Musical ‘Release’

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THE title of this piece might suggest…

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something orgasmic and prurient. In fact; I can back that up a bit…there is a sense of the sexual and satisfactory! I have been thinking about music - and why I listen to certain songs. Looking through my daily rotation and those moments I repeat and hold close; there is something common and revealing coming to the fore. One can throw all sorts of psychological interpretations and insults my way: my choice of songs, I guess, reveal a deeper desire. We are all, in our own way, frustrated and longing for something new. Many find that fulfilment and completion in relationships and friends; others have jobs and rewarding careers; some travel and see the world. To me, the way I wrestle with deep emotions and make sense of anger's tangles is to unburden them through music. At the moment, I have classic 1990s Dance music loaded on Spotify; I have Metallica’s eponymous album in the car; my YouTube lists are filled with songs from my childhood – there are some boisterous, stone-cold R&B gems from the 1990s/2000s elsewhere. The casual observer could say this: they are random selections and have no deeper meaning and substance. The songs are fun, memorable or evocative. In any case; they serve a need and have a sentient relevance.

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My song choices are not dictated by the cycle of the moon or the mood I am in – something personal and emotion drives my decisions and the sounds I uncover! Right now; I am caught by career unhappiness – that extends to geographical lumber – and, well…’physical’ ‘urges’ (you can fill in the gaps yourself!). Spring is coming and, with it, the potential for sunshine, warmth and a rise in happiness. That last part not might apply to me as easily and fervently as others: I am hopeful the longer days and clement conditions unlock a part of my mind unable to break free from ruts and easy options. In any case; music is filling holes, metaphorical and near-physical (another gap to fill in!), that are causing pain and confusion. There is something to be said for the sensations music provides. I am not necessarily talking about physical explosions and epic choruses: a satisfying piece of string articulation or unexpected chord change gets into the bones and causes unexpected and fantastic reactions. I paraphrased and borrowed a lyric from The Rolling Stones – we all know the song... – because there is something incredibly physical and sense-screwing about music. I have Metallica shaking my car’s electrical components because of the meaty riffs and animalistic vocals. I cannot put into the word the feelings I get when Enter Sandman’s (the opening track from Metallica) introduction plays.

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IN THIS PHOTO: Destiny's Child/PHOTO CREDIT: Getty Images

That sound and excitement provokes a de-stressing and fist-pumping alacrity that nothing else in life does. I listen to En Vogue, Destiny’s Child and All Saints because the combination of strong female vocals and hip-swivelling jams loosen my body and gets the voice ringing. I could easily couch these sensations in very simplistic terms and reduce them to their components parts. You could say a big riff and chunky chorus is a sexual release and sublimation of inner tensions. It is true there is a whirlwind of physical contortions not being slaked by companionship and sex. I do not use music to replace a physical relationship – it is not a synthetic substitute and acceptance I cannot find anyone. Instead, and a more healthy viewpoint, is there is an addictive sound that registers inside me and produces a burst of serotonin. Many of us gravitate towards big Rock songs because of the physicality and ferocity in which they are delivered. At gigs; there is that tribal aspect: likeminded souls losing themselves in the sweat-flying divinity of the moshpit. For me; I long for the sort of excitement and brilliance a great Rock song can deliver. A fiery arpeggio or insatiable chorus can dissipate all the troubles around me; a sleazy vocal or Rolling Stones-like classic can, in me, can transpose the furies of the song itself: create immense fulfilment and a warmth that hits all the bases and fulfils the senses.

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IMAGE CREDIT: Getty Images

R&B/Pop classics, that I have mentioned, have a brassiness and allure that speaks to me, and many others, in some way. Maybe the lyrics are different and the sounds varies – the effect and purpose remain the same. In any case; I am seeking sounds that take away my troubles and, with it, get me singing and in a finer frame. That word, ‘release’, is a complex and multifarious thing. There is, sure, a sexual and physical component to it. The larger and catchier the sound, the sexier – to me, at least – it is. I have mentioned how music does not need to be inflamed and engorged to provide a chasm of pure emotion and unbridled pleasure. Softer, more melancholic tracks can do the same thing. I have been listening to a lot of Joni Mitchell and Carole King because (their music) soothes and entices the soul. Maybe it is tied to childhood discoveries and the effect this music has on my growing up. Whether it is a Tapestry (Carole King) classic or a brilliant piece of personal pondering from Blue (Joni Mitchell) – it is amazing seeing what that sort of music does to me. The same way a great track from Metallica, The Beatles or Underworld can unshackle my strains with its energy, pulsating beats and peppiness: the aching devotion and velvet nuance of Folk greats dissipates my complex tormentors in its own, paternal way. The Rock and Pop – and R&B – slammers, climb on top of me and take their top off; ride hard and do not stop until the mattress is touching the floor (a bit graphic, but, you know…it has been a ‘while’).

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Strangely, Folk and Pop (something more delicate) has that caress and enticing whisper. It holds me by the shoulders and lets me know everything will be okay; providing a cotton-wool-cocoon that swaddles the spikes and offers a comforting blanket. Maybe we have decoded and reprogrammed our brains, from childhood, to associate various artists/sounds with personal needs and objectives. By that; we bond with particular types of music because they provide us with something humans/life cannot. I involved myself with music strongly because there is a sociability and unquestioning loyalty that accompanies me through my days – both bleak and good. As I type this, I am playing Chris Isaak’s Wicked Game. Not only is that one of the sexiest and most seductive tracks ever written; it is delivered in that Elvis-like croon. I could show you my playlists, on Spotify and YouTube, and one could reason and rationalise my selections. Nothing on those lists is frivolous and random: there is a reason why I choose those songs and listen to them devoutly. I am avowedly committed to quelling my stresses and discipline my frustrations through the expansive joys of music. It would be naïve to suggest music alone can act as a psychological guide and medicinal guru. Music has its benefits, I know, but is not a long-term and approved cure for depression, anxiety and loneliness. To me, it is the simplicity and inexplicable reactions that draw me to music. I could not tell you why I close my eyes, drip my head – with headphones – and float away as I listen to, say, Tears for Fears’ Everybody Wants to Rule the World.

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I have written about that song before and how, I think, it is my first memory of life. Nor can I qualify why something cheesy and 1980s carpet-bombs misery and eases the body – maybe, an early cut from Kylie Minogue’s career; something from Belinda Carlisle, perhaps. Perhaps it is simple, really: those songs are designed to provoke those responses in the listener. I think there is something unique about music. Even if a person has a similar physiological response to a 1980s Pop piece or a modern-day Grunge anthem; it is fascinating how that same piece of music remains with someone (and disappears in someone else). Like snowflakes, fingerprints and vitriolic outbursts from Piers Morgan: no two, I am afraid, are ever the same. No song, at any volume or in any situation, will resonate with two people quite the same. I find myself hankering, more and more, for the kind of pleasure music provides. There are many reasons why we retain certain bits of music and treasure certain albums. There might be that childhood love; a connection to a personal event or life-changing experience – something random, in some cases. So much of what I listen to regularly unlocks knots and provides guidance. I cannot rationally say I listen to Eminem and Soul II Soul because the music sounds nice and is brilliant: those songs get inside me and tease the senses! The reaction and reason need not be crude and proactive: a sweetly-delivered chorus or frivolous performance can make me smile and melt away.

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In the Yorkshire Dales of the musical landscape; there are multiple reasons why certain songs do their thing; endless combinations of sounds, subjects and sensations. At the forefront and coalface of deduction and explanation, there is a common recruitment and woe: that ‘sensation’. Call it ‘fizz’, ‘satisfaction’ or ‘happiness’: whatever word you attach to the phenomenon; it is a wonderful thing to behold. My abiding point- rather than expose and embarrass myself – is to highlight how powerful and beneficial music is. I should have put together a playlist – Sledgehammer (Peter Gabriel), now playing, would be on there – and see if the songs cause the same responses in everyone…but I won’t. I love exploring music and how, in many ways, it can remedy and reason. It can dive deep into the psyche and pull the lint from the filter; it can provide hugs and comfort when needed: there is a magical and mystical power that exists nowhere else in the world. As I listen to The Beatles’ Love Me Do and surrender to the multiple whiplashes and caramel-flavoured tongues of temptation; I am reminded, as I am every day, how powerful, potent and satisfying…

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GREAT music is.

FEATURE: The Bulldozer’s Lament: Gentrification and Its Impact on Music

FEATURE:

 

The Bulldozer’s Lament

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ALL PHOTOS (unless credited otherwise): Unsplash 

Gentrification and Its Impact on Music

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I wonder what damage the gentrification…

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of Britain is doing to the music industry. I walk down various streets and notice a couple of things. More and more shops and bars are closing (is the first). They are being replaced by other businesses which, in a few months, close down for the next thing to arrive. Either that happens or something gaudy forms: older, established buildings are being torn down and regenerated as glamorous and expensive flats. That seems to be the way things go in Britain: any inch of greenery is built on to accommodate families and those who do not really care about anything but themselves. There are enough people struggling to find housing in the country – it seems the wealthier get chances, regardless of what they give back to this nation. The U.K. has shown itself, in referendums and elections, alienated and unwilling to bond with its European nations. Not only are we detaching ourselves from neighbours and other nations: we are determined to replace anything lived-in and older with the brand-new and soulless. Gentrification does not mean demolishing anything that seems ugly and bringing in fashionable and pretty things. The reason gentrification can be good is making somewhere safer to live in; reducing crime and replacing any unsafe/disused buildings with something practical and safe. The latest casualty of the ongoing gentrification and whitewashing of London is the imminent demolition of the Elephant and Castle Shopping Centre. It is a divisive building: some see it as ugly and outdated whereas others find it to be a foundation and bedrock of the community.

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IN THIS PHOTO: Elephant and Castle Shopping Cente/PHOTO CREDIT: Getty Images

Whatever you think of it; the erosion and replacement of the Shopping Centre will change the area forever. Applying this to music and we can see it everywhere around us. We all know certain venues have closed over the years: many others are under threat and risk a shaky future. I worry what will happen to the fabric of live music when developers have their ways and new flats come onto the high-street. If we look back to Elephant and Castle and, when the wrecking ball comes in; that will mean small businesses are closing and the people who run them pushed elsewhere. The diverse landscape will become whiter, cleaner and gentrified – established residents marginalised and a wealthier option coming in. It is not only London that is experiencing this widespread and unending rebranding and retooling: every city in the U.K., in some way, is experiencing this. If we replace every building with a crack and tear every characterful object down; what impact is that going to have on the music industry and artists? On a physical basis; venues are always going to be threatened. Most of the ones we have now are smaller, underfunded and ‘distinct’. So many people want to see their streets samey and indistinct. A lot of our venues have a particular look and project noise.

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People who move into an area do not want to be distracted by sound or the clientele of a venue. If a venue is struggling or needs a lick of paint; why is it easier knocking it down and building new flats/shops?! Money is not being spent rejuvenating venues and ensuring (venues) are protected. A lot of clubs are being closed in Britain because they are either not pulling in enough money or are starting to peel away. There is a very fungible definition as to what constitutes a ‘problem’. Unless there are structural defects and infestations in the Elephant and Castle Shopping Centre; I wonder what has promoted it demise and demolition. The same can be said of a lot of venues in the country. Sure; many are struggling and going through tough times. The way to get them back on-course is to invest money in them or research what factors are contributing. Rather than spending infinitely more money on gentrifying areas and replacing venues/shops with flashier options – we need to retain these spaces and ensure they do not face the smash of the bulldozer. I love cities but always hate when working-class, decent areas are replaced by middle-class and sanitised buildings. Not only does that replace the skyline and vibe: the inhabitants and local residents, often, are priced-out and forced to move elsewhere.

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Music industries rely on surrounding flats and shops to make them a success. If we remove the client base and local residents that means new people come in – those who do not know the area and, as such, do not visit venues. It is not only venues themselves being threatened by gentrification and ‘edification’. The wealthier and more exclusive areas become; that means fewer musicians will be able to afford to move there. I am hearing from peers who had hopes of moving into the city and, instead, are reserved to the boundaries. They have to choose cheaper options which is, in turn, seeing wealthier people move to the cities. The only way we can maintain thriving and interesting scene is keeping the population varied. The closer of smaller clubs in cities – R&B and Rap – means a lot of the young, black population are relocating and moving to other parts. Doors close and, before you know it, flats and restaurants come in instead. The same can be said of pubs. They provide open mic nights and provide a stage for new artists. Take them away and, again, musicians have nowhere to play – it means they have to rely on the Internet or other options. I am all for removing hazardous buildings and closing venues/spaces that are dangerous, beyond revival or impotent.

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This is not what is happening in a lot of cases. Developers and councils are not willing to spend money trying to sustain somewhere struggling – the easier option is starting from scratch and building something, they know, brings a lot of money/wealthier people to an area. One of the biggest tragedies of modern London is the way it is becoming stale and wealthy. A lot of vibrant and mixed areas are being blanched and stripped of their purity. I am seeing it in other parts of the U.K., too. It is not only Britain that faces the scourge of gentrification: the U.S. is seeing many of its established and legendary music cities facing threats. Last year; an article in The Guardian looked at the changing fortunes of Austin (Texas) and New Orleans:

“It’s a difficult reality for the city to confront. Austin is one of the three major US “music cities”, alongside New Orleans and Nashville, that have capitalised on this local culture at the risk of ruining the scenes that made them famous in the first place. In Austin, the local live music scene is now paying the price for its success. Brian Block, of the city’s economic development office, says despite an apparent city-wide financial boom, local musicians’ income is “at best stagnating, and possibly declining”.

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IN THIS PHOTO: A musician in New Orleans

“…Across the state border in Louisiana, New Orleans is facing similar problems as it develops and gentrifies. There are fears that without local government actively supporting musicians, the scene’s survival could be at risk…How do you keep a [music scene] real and authentic and yet encourage people to get involved? It’s a paradox,” says Jan Ramsey, editor of local magazine OffBeat. “There’s an authenticity to the music and the people who make it, and the integration of black and white culture here – we never want to lose that.”

It is worrying seeing how things are changing in the world and how the music industry is being impacted. So then…what do cities and musicians need to do to ensure their venues and native populations are protected and listened to? This piece explains the realities before us – explaining some solutions and pragmatic movements:

“According to (As Sound Diplomacy Founder and CEO Shain Shapiro) Shapiro, musicians and music industry professionals, who tend to think and operate in the short term, need to start advocating to be included into city zoning and planning strategies that may be looking 5, 10, or 15 years in the future. “Cities write their local plans to reflect how land is going to be used for decades. If we don’t think about our music infrastructure and how we fit into those issues, then we’re constantly going to be the recipients of an end-use model. The building will just be there and then we’ll be inserted into it, rather than us having a responsibility and dialogue before, so we can play a part in how it’s created.”

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“…Musicians, says Shapiro, also need to start learning to speak the language of developers. “We can’t just say, give us a music venue. What if that’s not a profitable use of land?” And while much of new development in cities is crowding out the creative industries, there are a growing number of developers who are investing in music venues. Peter Cornforth, who leads retail development for UK-based firm Benson Elliot Capital Management, has been advocating within his company for the ‘positive externality’ that music brings to mixed-use developments; according to him, music should sit in the value and not the cost side of real estate”.

Last year saw a lot of commentators look at gentrification and how our streets are struggling to adapt and maintain their natural good looks. A piece in The Conversation investigated the link between rising business rates and the impact that has in cultural and economic terms:

“The government’s review of business rates could see a rise in the level of rates they will pay of up to 55%. For some music venues, this could easily be the difference between staying operational or going under. This wouldn’t just be a loss to the economy. Local venues are a cultural as well as an economic resource. The social and musical networks they house are not easily replaced and the larger spaces, ultimately, depend on healthy grassroots for tomorrow’s headliners.

The challenges are widespread, and face venues of all kinds. A squeeze on funding has seen local authorities reduce their spending on the arts, and music education also faces an uncertain future”.

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It is a hard line to draw between necessary development and change and that which is excessive, selfish and ignorant. Maybe our current Government is to blame (for the gentrification and changing face of our cities) or it is business rates and unreasonable rents – or this is the way things are going to go from now on. What bothers me is a lack of connection between the councils/Government and the music industry. Small shops and businesses closing can impact musicians and venues; rising rents and expensive areas alienates artists and means musicians struggle to find gigs (paid, at least) – do those who make the big decisions realise that?! I would think not. The clatter of the bulldozers and the dizzying dreams of developers is taking away a lot more than bricks and concrete: human lives, livelihoods and businesses are being transplanted and extinguished. Whilst we do need to protect the safety of the streets and ensure any unstable structure is addressed; that does not mean removing areas/buildings that do not ‘fit in’. Elephant and Castle’s dilemma could have devastating effects on the community and wider area. Look around you, walk the streets and see the people around. Things are changing, right?! Are they for the better?! It might not matter to those (wealthier people) who move to an area – the gentrification of a town/city has an impact on the music industry, its patrons and smaller venues. To those who have little regard for an area and the consequences of removing buildings/changing the skyline, I would offer this caution: consider the human cost and those who will lose out when the bulldozers swing in. It (demolition) might not mean a lot to them but, for many people who live and play in these areas, the cost of faceless gentrification is a lot higher…

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THAN the financial profit for developers.

FEATURE: With the Beatles: Why Ringo Starr’s Knighthood Should Spark New Interest in the Band  

FEATURE:

 

With the Beatles

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PHOTO CREDIT: Apple Corps Ltd./ALL OTHER PHOTOS/IMAGES (unless credited otherwise): Getty Images 

Why Ringo Starr’s Knighthood Should Spark New Interest in the Band  

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THINKING about music and when it arrived in my life…

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IN THIS PHOTO: Ringo Starr receives his knighthood

I have to, inevitably, look at The Beatles and their majestic sounds. My first rush of The Beatles was discovering albums like Abbey Road and Rubber Soul. The latter remains my favourite album from the band. The way Paul McCartney and John Lennon transformed and evolved as songwriters can be heard on that record. L.P.s such as With the Beatles and Beatles for Sale indicated and highlighted what was to come. Rubber Soul, to me, is the masterful songwriting duo hitting their stride and showing they have no peers. I still don’t think there has been a songwriting combination like Lennon and McCartney. The way they wrote together – back in those early days – is hardly done these days. Whether writing at a piano or at one of their houses – two curious minds working on songs and formulating golden anthems. We think of The Beatles and that core of Lennon and McCartney. Lest we forget the band was a quartet: a big part of that magic came from the drumming of Ringo Starr. The legendary Beatle received a knighthood earlier in the week – over fifty years after The Beatles were awarded MBEs. Paul McCartney got his knighthood back in 1997: the fact it took so long to acknowledge the other surviving Beatle (George Harrison was alive in 1997; he has been gone since 2001).

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IMAGE CREDIT: ANITA PONNE

Many might wonder why it took so long for the Queen to bestow such an honour on Ringo Starr – and, why George Harrison never got approach regarding a knighthood. Classic Rock- had an explanation:

“Both Harrison and Lennon were more than qualified to be knighted alongside their bandmates during their lifetimes, but the crown didn't start knighting pop stars until 1995, when Cliff Richard was selected for the honor. Bob Geldof was granted an honorary knighthood nearly a decade before, but it was for his charity work, not his musical accomplishments — and both men were acknowledged years after Lennon's death. Since knighthoods aren't granted posthumously, it's always been out of the question for Lennon to be selected — and as fans are well aware, his playfully contentious relationship with the crown might have led to him rejecting the offer anyway, as he did when the Beatles were bestowed with an MBE in 1965.

Rejecting honors from the monarchy was something Lennon and Harrison later had in common. According to correspondence unearthed after Harrison's passing, he also declined to accept an OBE (Officer of the Order of the British Empire) — allegedly because he was insulted by the offer of a station lower than McCartney's knighthood”.

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Stepping aside from the logistics and reasoning behind the late recognition of Ringo Starr; his knighthood, surely, has to get people reinvested in The Beatles. It is true to say the band have never lost that focus: the greatest band ever to stalk the planet has been popular and influential since their earliest days. To me, the band represents innovation and rebellion. I think about their debut L.P., Please Please Me and what went into it. A single, thirteen-or-so-hour recording session and you have music history. Back in 1963; the boys were transcending from those German days and starting to get a real foothold in the U.K. and the U.S. The Liverpool band went into the studio armed with some originals and covers; put the tracks down and that was it – a raw and live-sounding record that, surely, goes down as one of the best debut releases ever. Listen to the boisterous and cheeky opener from Paul McCartney (I Saw Her Standing There) to the throat-shredded, blistering Twist and Shout (John Lennon, suffering from a cold, nailed the song in one take – he has no energy and throat left to do a second!) – it is a fantastic album that helped put their music into new hands. Their earliest period – from the debut through to, say, Revolver – was a case of gradual improvements and revelations. In my mind, one of the big reasons for their success was Ringo Starr.

The man’s incredible drumming and unorthodox style can be heard on some of their earliest gems. Listen to songs like She Loves You and you cannot help be amazed by that rollicking, impassioned drumming. Flip forward to songs like The End (Abbey Road) and Tomorrow Never Knows (Revolver); A Day in the Life (Sgt. Pepper’s Lonely Hearts Club Band) and Dear Prudence (The Beatles) and you cannot escape the magical work of Ringo Starr! I have a lot of love for the later work like Abbey Road, The Beatles and Revolver: to me, that early part of their career is the most interesting. I love how the guys changed the face of music and sounded like nothing else – there is still nobody like them in music! One can chart a real growth from their debut – when they were performing covers and not quite as gelled as they would be – to a time when touring demands and chaos meant they had to quit (before they started recording Sgt. Pepper’s Lonely Hearts Club). That period, between 1963-1967, is such an extraordinary and wonderful thing. The Beatles, unlike a lot of bands at the time, were as synonymous with their personalities as the music themselves. All the boys had charm and a witty turn-of-phrase: Starr, to me, had that extra something about him. He seemed (like) that constant backbone and leader of the band; the real star who could keep the guys in-check and ensure every song held together and moved forward.

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PHOTO CREDIT: Apple Corps Ltd.

Even though there were tensions around the recording of The Beatles and Abbey Road (the final album they recorded); there was that love and affection that cemented the band. Even now, when Ringo Starr received the knighthood; we saw messages from Paul McCartney and Yoko Ono. The public has a huge love for him and everyone in the music scene is relieved he has been given that long-overdue knighthood – the Monarchy finally came to their senses! What I hope, and think we’ll see, is a new injection of hunger for The Beatles. Although it is likely the two surviving members will get together and record anything (you never know!); there will be more material from Starr. I do worry there will be a day when I’ll approach a young person and mention The Beatles – they will give me a blank stare and, disturbingly, I’ll have to explain who they are through varying degrees of obscurity and annoyance. There are those of us, myself included, who have old Beatles vinyl in their collection. I have at least six or seven of them dotted around the house. There are few greater pleasures than sticking on a record like Please Please Me or Abbey Road and listening to it from the first crackle to the moment the needle rises from the record. I still prefer The Beatles in their truest format: a good, old-fashioned vinyl.

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IMAGE CREDIT: Getty Images/Spotify

I know many people do not listen to the band in the same format: streaming sites mean a lot of the new generation are experiencing The Beatles digitally. I do not object to people listening to the group through this method. The world has moved on and I understand it is a lot more time-consuming listening to vinyl (as opposed digital means). It is always great knowing a band like The Beatles are being heard and experienced, over fifty-five years after their debut album was released. Whilst any listening experience of The Beatles is a great thing; I wonder how many uninitiated listeners are going to streaming sites to hear them. The likes of Spotify promotes new and fresh music. They spend less time promoting older musicians and albums. People are talking about Ringo Starr’s knighthood and how it has been a long time coming. People who have listened to The Beatles for years/decades are dusting off records and playing C.D.s; new listeners are getting involved with the band and diving into the warm waters – all generations and ages realising why The Beatles are the greatest band ever. I have met Ringo, Starr, briefly, and was bowled over completely! I think he is one of the most engaging, sensational and inspiring musicians still playing. He still has that ethos of the older days – peace and love to all – and endless energy.

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One of the reasons I vociferously gobble every molecule of Beatles material is the fact Ringo Starr and Paul McCartney are around and as striking as they always were. I hope the knighting of Ringo Starr does not cause a brief rush of Beatles interest. So many artists I interview name-check The Beatles as influences. It is a part of everyone’s childhood and the soundtrack to all of our lives. The reason me, and so many people in music, know about the band is that their records were played around the house. Our parents attended their gigs and grew up around them; they passed them onto them – how many of the new generation are passing along The Beatles?! I know there are more and more people finding The Beatles and ensuring their music is played and shared. The Beatles can never die or lose sway: their music will be played and studied to the end of time! My biggest hope is young listeners forgo the shiny and polished Popstars of today and step back in time – discover a band who caused an explosion in music and soon became the biggest band in history. It has been a great week for a titan of the music scene. Sir Ringo Starr – or ‘Sir Richard Starkey’, as it should be – has received his knighthood with humour, humbleness and grace. As we nod to a giant and draw a breath of relief (that he finally has a knighthood!); it is to our vinyl crates, C.D. shelves and laptops; so that we can, all, spin The Beatles and remind ourselves why they are…

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SYNONYMOUS with musical genius!

INTERVIEW: Dame Jean

INTERVIEW:

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Dame Jean

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SO many things strike the senses…

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when approached with Dame Jean. The band have a determination and passion few others do; their music sounds like nothing out like there; there is a clear connection within the ranks. I speak to the guys about their debut single, Wasted Love, and what its story is. The band has no social media presence at the moment – they explain the reason behind that.

I ask what gigs they have coming up and what they have planned regarding new material; some new artists we need to get involved with; why humour is important to them – they end the interview with some great song selections.

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Hi, Dame Jean. How are you? How has your week been?

Tired, excited; broody…

We’re thinking of adopting now we’ve released a single.

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

Of course. We are a four-piece sickly, surfy; dysfunctional Rock band from all over the place who writes our own songs and play them to beautiful people.

Wasted Love is your new song. Can you reveal the inspiration behind the song?

Sammy: It was written, cathartically, during a pretty nasty break-up. It’s very spiteful, honest and bitter - but I needed to find a way to purge a lot of bad emotions quickly before they took me to a worse place and this song, for a time, let me do that.

It is the debut cut. Has it been quite exciting releasing that first song? Will there be more material arriving?

Yeah. It’s a really exciting time for us at the moment. We’ve got so much we want to do and show people, though: from crazy stuff we’ve done in the studio that can't be recreated live and messed-up videos. We had our launch-party the other night and shot the video for the next single - which will follow Wasted Love very soon.

How did the band get together? What is the inspiration behind that name, too?

We all went to the same uni, but we were in different years or courses and a strange series of events brought us together.

With regards to the name: it’s a combination of Sammy’s love for James Dean and a comment on the frequent confusion people seem to have with his sexuality and gender.

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It seems like you have a love of artists from the 1960s and 1970s. Who did you all grow up listening to?

As a band, we all have a very diverse music taste, but seem to all have an overlapping interest in the more weird and wonderful cult artists of our time.  

I have to ask about the lack of social media pages – that has garnered some raised eyebrows. Is there a reason behind this?

We didn’t feel like we’ve seen much benefit from using things like Facebook in other small bands in the past. Practically every person/new band is on there - which is great, for some reasons. But, when the state of the music industry isn’t too peachy, and the way society communicates is pretty poor, it doesn’t make sense to keep doing the same thing.

It says a lot how surprised people are because a small band like Dame Jean don’t have a Facebook page and can still function. Social media didn’t exist when any of the bands we love were around anyway. That might be a post hoc ergo propter hoc mentality but it’s worth a shot…and so far, is going okay.

Might we see a Facebook or Twitter account forming at some point?!

If we can’t get our music out there, and it’s obviously because of our lack of Facebook/Twitter, then we will find us some edible hats…

Then, we'd get over it like we all did with MySpace (sad-face emoji).  

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Can we see you tour soon? What gigs do you have coming up?

We’re playing The Pig and Fiddle in Bath on 19th; Fiddlers Club (Bristol) on 4th of May with Wayne Hussey (from The Mission). Then, we’ve got Camden Rocks in June. Though, we’re constantly booking shows and will keep everyone updated via our website.

If someone wanted to come and see you play – what could they expect? Does the band have an outrageous rider at all?!

We don’t really get riders…but, if we did, we’d probably just ask for money or emotional stability. Live, we feed off each other and drink wine until one of us gets too excited and/or something stops working. The wine usually makes its way around the crowd, too, and it’s super-gross; so you can probably expect to catch something, too.

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What do you all hope to achieve in 2018?

We’re hoping to get around and play to as many people as possible - and we are releasing an E.P.

What advice would you give to new artists coming through?

Honestly, we’re probably at the same stage; so all we could ask for is to (just) support other bands and help make your music scene as healthy as possible; the odds are stacked, so stick together and enjoy it.  

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Are there any new artists you recommend we check out?

Swimming Girls, George Glew and Novatines.  

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IN THIS PHOTO: George Glew

Do you all get much time to chill away from music? How do you unwind?

Between working and Dame Jean, our free time is mainly dedicated to sleep - but we all hang out a lot, listen to sad music and cuddle.

Looking at some of your ‘reviews’; it seems like you have a self-deprecating and humorous approach. Is it important, to the band, to keep things light?

We think so: there’s no point in taking yourself too seriously. We take music very seriously and our music means a lot to us, but we’re only doing it because it makes us happy. If you’re too precious, it’s not going to be as enjoyable - and the whole thing loses meaning.

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

Cigarettes After Sex - Nothing's Gonna Hurt You Baby

Supergrass - Caught By the Fuzz

Courtney Barnett - Nameless, Faceless

Sharon Van Etten - Every Time the Sun Comes Up

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Follow Dame Jean 

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INTERVIEW: Goan Dogs

INTERVIEW:

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Goan Dogs

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NOT only does their name intrigue me…

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that music gets into the head and fascinates the senses! I have been chatting with Goan Dogs about their new single, Passing Through, and what the story behind it is. They tell me about that unique name and what we can expect from their upcoming E.P., Roll the Dice.

I discover the music and inspirations that drive the band; how the band got together; how a typical song comes together for them; what it was like filming the video for Passing Through – they provide helpful guidance for artists coming through.

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

Very good; very cold.

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

We’re five Bristol boys, born and bred, making delicious psych-infused Rock-Pop.

Passing Through is your new single. What is the story behind the song?

It’s about passing through life. The feeling that life is short, even if it doesn’t feel it sometimes - so don’t waste it, you idiot. We can’t all be lucky enough to have a ‘nice life’ but, if you’re able to recognise the things that will make it richer, then you should bloody well make an effort to seize them.

Talk to me about the song’s video. Whose concept/idea was it? Was it interesting shooting it?

We’re lucky enough to have a talented film-maker in Sam Powell. We all contribute ideas but he and Theo Mackie (who directed this one) are the driving force who actually get it done. Then, our friend Adam Stocker comes along with a lush camera and even more great ideas and makes us look like professionals.

We, basically, came up with images that fit the lyrics (literally) and images that fit the vibe and mashed it together as raucously as possible. We wanted to have even more fun than we usually do making videos - so we didn’t choreograph that much this time. A lot of it was on-the-fly; turning up at people’s houses, putting them in fancy dress; shouting ‘action’ and moving on.

The song is taken from the E.P., Roll the Dice. What sort of things do you discuss and cover in the course of the E.P.?

 Throwing phones in the sea, minor misdemeanours; inappropriate thoughts and living.

How did Goan Dogs get together? Was the bond quite an instant one?

We’re a mix of primary school friends, or secondary schools friends or college friends; overlapping in some complex way we can’t quite remember. We love d*cking about together and love playing music – so, it was probably always just going to happen.

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PHOTO CREDIT: Alex Rawson Photography

Is there a reason for that name at all?!

Mangy, stray dogs on beaches. In Goa. It’s a thing: they’re everywhere.

Do you all pitch in when it comes to songwriting? How would a typical Goan Dogs song come together?

We’ve settled into a pretty comfortable pattern where Luke comes up with something, brings it to the band; gets torn apart and put back together again. Sometimes, they’re nearly good to go but, usually, they get reworked a lot by all of us. The best feeling is when we’re on all on the same page and just excited to get it out there.

Which musician did you all grow up on? Can you each remember the first album you ever bought?

I don’t think we all share a single musician growing up, but you can draw your conclusions from our first-ever music purchases with our own money. Beat It by Michael Jackson, Return of the Mac by Mark Morrison; Who Let the Dogs Out? by the Baha Man, The Bends by Radiohead and Praise You by Fatboy Slim.

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Can we see you tour soon? What gigs do you have coming up?

Yeah, you can - and you should! In March, we’re playing the Boileroom in Guildford on 28th; 60 Million Postcards in Bournemouth on 29th; Hoxton Square Bar & Kitchen (London) on 30th and Thekla on 31st.

How important is it to you, as a band, to get your music on the road? Is the stage somewhere you all feel comfortable?

Very important. We’ve all been in love with bands growing up where the show is what it’s all about. We’re also big fans of studio wizardry, so we have a great time during the production process. But we found out, very early on, that we like to dance around on stage, get sweaty and put on D.I.Y. light shows. Give the people what they want.

T-shirt cannon anyone?

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What do you all hope to achieve in 2018?

An album under our belt would be the bee’s knees. We’ve got plans for more E.P.s, though, because we keep writing tunes that we’re incredibly proud of (and feel like singles to us). So, maybe just worldwide recognition in 2018. That would be nice.

Have you each got a favourite memory from your time in music – the one that sticks in the mind?

It’s a bit local, but the Cube Cinema in Bristol put on a fundraiser a while back to buy itself - and we joined the line-up at Bristol Old Vic. As a band that has been on our fair share of tiny, grotty stages it was amazing. Also; achieving our major ambition of playing Glastonbury Festival in 2017.

Our next ambition is to play it again.

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What advice would you give to new artists coming through?

Make sure you love doing it so you can press on in times of dire financial straits. Also, people in the industry are all-talk but some mean it; so try and figure out who’s genuine and romance them. Lastly, expect totally contradictory advice from industry insiders if you ask what your next steps moving forward should be. Everyone knows everything and nothing.

Do you get much time to chill away from music? How do you unwind?

We all like to unwind by going to a nice relaxing day job.

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

Rum and Coca-Cola by The Andrews Sisters

My Best Friend’s Girl by The Cars

Strangers by Sigrid

Lying Has to Stop by Soft Hair

Move On by Charlotte Dos Santos

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Follow Goan Dogs

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INTERVIEW: Aleem

INTERVIEW:

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Aleem

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FORMERLY based out of Chicago…

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it seems things are getting better and better for the L.A. artist, Aleem. I have been speaking with him about the current single, Stranger Things. He talks about his progression and supporting Fifth Harmony; whether he will come to the U.K. and play over here this year; the artists he was raised on – and, whether there is a healthy music market in Chicago.

I was curious to discover what advice he would give to new artists; the three albums that mean the most to him; some new artists worth checking out; what his ambitions are for the rest of the year – he finishes the interview with one of his favourite songs.

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

I’ve been great, thanks!

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

I’m a singer/songwriter from Chicago - and I have just recently toured with Little Mix and Fifth Harmony (these past couple of years).  

 

Stranger Things is your new single. What can you reveal about its story and creation?

Stranger Things is a love song about accepting one’s past.

The story behind the song came from a relationship I was in where I could tell my significant other was hurt and jaded from her past relationships. This was causing her to shut off and build up a wall because she was scared that her past might come up and ruin the present. The song is, basically, me shouting out saying that I accept wherever she is coming from - and that it wouldn't take away from what we have. 

Your previous single, So Damn Good, was well-received and accrued many millions of Spotify streams. Did that give you the confidence to keep pushing?

It’s incredibly humbling to see your hard work to get recognized in that honor. My job is to write stories that people can relate to. I’m extremely ecstatic and honored that so many around the world were able to connect with my songs. 

Will there be more material to come? What are you working on at the moment?

Most definitely! I’m currently in the studio writing and recording new stuff!

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You have a mix of sun-kissed tones and R&B sounds. Which artists did you grow up listening to? Were you raised in a musical household?

I’m actually the only one in my entire family that has any sort of musical talent. To this day, my family is confused on where my talent came from. I have three main artists that I am truly inspired by and model my craft around: I’m a huge fan of Bruno Mars, The Script and John Mayer. 

Chicago is where you are based. What is the music scene like there? Is Illinois quite a varied and busy musical state?

Unfortunately, Chicago doesn't have much of a Pop scene: the city is well known for its Jazz and Gospel roots. I was fortunate to get my start in Chicago learning about the industry and working on my craft – but, it wasn’t until I moved to Los Angeles that really helped kick-start my career. 

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Previously; you have opened for Fifth Harmony. Was it quite a daunting moment – or did you learn quite a lot from that experience?!

It was an epic experience. Even though it was my first-ever arena run, I’d say the results were incredible! I enjoyed every moment. You learn so much about yourself as an artist when you get an opportunity to play on such huge stages. The game is completely changed and the stakes are much higher.

I loved the challenge of being an unknown act and introducing myself to thousands of new fans! Both the Fifth Harmony and Little Mix tours were absolutely insane!

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IN THIS PHOTO: Bazzi

Who are the new artists you recommend we check out?

Bazzi is pretty awesome right now, as well as Marshmellow.

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IN THIS PHOTO: Marshmellow

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

They would come from my three favorite artists: 24K Magic - Bruno Mars; Continuum - John Mayer and The Script’s self-titled (first) album. These albums were extremely cutting-edge when they were released in their respective times. Each song on each album has a purpose. It’s not just collections of songs: each album tells a story and takes you on a journey. 

Can we see you tour soon? What gigs do you have coming up?

I’m pretty excited to be putting some U.K. dates of my own together very soon! 

Do you like performing in the U.K.?

I love performing here. It’s one of the most passionate fan bases I’ve witnessed – I love every single time I’m back. 

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What do you hope to achieve, personally, in 2018?

I hope to continue to be able to share my music around the world. I love being able to get in the studio and work on my craft - and then be able to travel and play my music live and put on a show. 

Have you got a favourite memory from your time in music – the one that sticks in the mind?

I think, overall, that feeling of when you know you have something good while working in the studio. There’s a certain energy in the room that overcomes you when you know you are recording something that will make a mark out there. I love that feeling.  

What advice would you give to new artists coming through?

Stay rehearsed! You never know when or where your opportunity will come from. Stay hungry and ready to pounce when that door opens up. 

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Drops of Jupiter - Train. One of my all-time favorite songs! 

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Follow Aleem

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TRACK REVIEW: Louis Antoniou - Lonesomeville

TRACK REVIEW:

 

Louis Antoniou

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PHOTO CREDIT: Paul Hammond

Lonesomeville

 

9.4/10

 

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Lonesomeville is available via:

https://open.spotify.com/album/1wfSpEztICcmqyFFTIWGY8

GENRES:

Alternative-Rock; Blues

ORIGIN:

London/Watford, U.K.

RELEASE DATE:

16th March, 2018

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I have a lot to crack on with today...

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PHOTO CREDIT: Paul Hammond

so it is best I get to talking about Louis Antoniou and his music. Before I do that, in fact, there are a few themes I want to address. I will talk about double-single releases and new ways of introducing music to the public. Following that, I will investigate songwriters who go deeper and produce original songs; why social relevance and observations are required this year; artists who develop their sound and build through time; sounds that need to be proffered and promoted this year – finishing by looking at the way music needs to evolve and shift this year. Antoniou is one of those artists who goes out of their way to explore new ground and push the limits of music. I am making changes to my blog in the coming weeks where I will go looking for more female artists – the majority of requests I get are from men; I want an equal split on my pages – and progress from the capital. A lot of what I do at the moment involves investigation of male artists from the capital – a lot of the same stuff coming my way. It can get a bit weary having bloke-heavy months where I am shifting and sifting through similar-minded acts. Luckily, and to come to my point, Louis Antoniou adds freshness and a unique edge that gives me something compelling to write about. Aside from the fact he does not have a Twitter account – folly given it is the most effective way to promote music – there is so much to love about him. I will come to my advertised points but, going forward, I would recommend a few things. I can never see any rationale and logic for artists escaping Twitter. Facebook is on its arse and will be a spent force soon enough. Gigs are a good way of spreading the word but, given the competition out there; Twitter is the fastest and most-powerful tool available to musicians. You can get your music out to the people very quickly and efficiently using Twitter. I would be nowhere were it not for the social media site and what it can do. Antoniou has his fans on Facebook, and a local crowd, but, if he wants to get to bigger audiences and get his music played widely – Twitter is a good idea for him. I can understand why some artists would avoid Twitter – if they feel it is a little commercial and obvious.

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I have made so many contacts on Twitter through the years: Louis Antoniou would accrue a lot more fans if he floated his music on the site. Another recommendation would be for Antoniou to go a bit further regarding his photography and campaigns. The images used here – unless he comes back and supplies more – are from an interview I conducted with him a little while ago. That interview was for his previous single release. I am not sure whether they are bespoke for that campaign – or general images that can be used at any stage – but, given the nature of his latest release; some themed and unique images would be a great idea. He has a photographic allure that means the camera, it seems, loves him. I will talk about the poetry and desires of Antoniou soon but, for now, maybe some more shoots and campaigns would help get his music out to the people. The final point I wanted to make was promoting music further than the U.K. I know Antoniou wants to play church gigs this year – one of the first Rock acts to tear up a place like that! – but he seems like a natural fit for the U.S. He has gained great praise from U.K. sites since the start of his career. I know American audiences would love his music and back what he does. All of these modifications and tweaks would bring the brilliant music to more people and get Antoniou the credit he warrants. At the moment, the London songwriter has done sterling work and seen multiple sites/sources push his sounds. You Ain’t the Girl, his previous single, showed promise and a keen desire. Antoniou has come back with a brilliant double-release.

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PHOTO CREDIT: Paul Hammond

I am not taking on the other side of the coin, I Let the Rain Fall Hard, because I only look at singles – at the moment, anyway. I have heard the song and can attest to its dark, gripping and dramatic tones. It is not as light as Lonesomeville and has different shades. This single is slicker, cheekier and different to his previous release. Whereas that song was a Blues affair that reminded one of the likes of The Doors, The Rolling Stones and Elvis Presley; here, we have something with humour, grizzled and frenetic. I will look at the way some songwriters develop their work quickly and have that restless nature. I get bored with the same sort of campaign and artists who bring out there music the same way. Usually, with an album involved; you get the first single/teaser that comes along. Maybe there will be a few clips and build-up of that introduction song. Before the L.P. arrives, we have seen, maybe, three or four tracks come through. You are familiar with that record but, more than anything, a little weary and keen for something new. It is a strange experience having that much familiarity with three or four songs – it sounds strange against the new tracks you’ll experience on the album. I wonder whether promotional campaigns are too predictable and full-on. Do we need so much material and relentless promotion before an album comes out?! New artists do not really have the same agenda and angle. They do things differently for single release, but still, there is too much of the obvious and weary. Louis Antoniou has taken a different tack and decided to release five singles this year. The double-release we have now shows another couple of sides to the songwriter. I am always looking for artists who do things differently and break with convention. The fact Antoniou wants to release more songs this year means he has a desire and passion to get things done. He wants to succeed an, with every new offering, takes a different approach.

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I have seen artists release B-sides and bring their material out on cassette. That may sound a bit vintage and outdated against the modern world: the fact artists are willing to retain the sense of wonder and old makes me hopeful. I am pleased we have the Internet and streaming services but I yearn to retain physical forms and, at the very least, see music remain agile and unpredictable. Having the same artists release the same material, in the same way, gets boring very fast. Antoniou wants to stand out and, as such, has started this year with intensity and meaning. I will come to look at Lonesomeville very soon but, right now, I am interested in that double-release. The public gets two tracks at once and, with it, separate songs and sounds. The two singles do not have the same tones and dynamics. There will be a couple more releases coming before the end of the year – I am interested to see where Antoniou goes and what he produces. I know Antoniou loves music of the past and grew up around the likes of The Rolling Stones. You can hear their mix of Blues and Rock in his music. What I would like to see from a songwriter as appealing as Antoniou is to retain that blend of older and new. The London artist still engages in the motions of modern promotion: teasing material and releasing on streaming sites; building up hype and attention. I hear an old master with one part of his mind set on the glory days. Maybe he would consider releasing to cassette or including covers in his repertoire. Perhaps there will be an album that has a narrative arc based on modern life and ways we need to develop as people. Each new song provides another part of the jigsaw. I feel there is a massive success waiting around the corner for Antoniou. He is always pushing himself to be better and finding ways to distinguish himself from the masses. Lonesomeville is a brilliant way of doing that.

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There is a series of BBC Radio 6 Music, presented by Chris Hawkins, that looks at bands involved in politics. The programmes chats to artists who involve themselves in social and political concerns. I think IDLES are one of the acts being featured. The reason the show interests me is seeing how music is changing at the moment. There are artists who remain in the commercial and obvious realm. Against that (commercial aspect) are the musicians going out their way to talk about something more relevant and meaningful. We need artists to take a more conscientious approach to songwriting; look around them and document what is happening – and how the world is being impacted. That is one trend unfolding in music right now: bands and new acts talking about modern life and how the nation is changing. Antoniou is someone who understands this and has the potential to join the elite of music. One of the suggestions I would urge is to turn his powerful and engaging music to areas like social change and politics. He has looked at love and humorous sides: a gaze into the modern world, and the way people are living their lives, is a good shift. Like peers such as Louis Brennan; delving into subjects most songwriters avoid would be a good idea. I can see a soul and conscience in Antoniou that wants to go beyond the similar and boring – a more invested, curious and striking heart. The way he goes about music has impressed and stunned me. Bringing that wit and humour into a politically-charged number would see him join artists like IDLES and Cabbage in the leagues of the aware and divining. Those bands see the way the world is splitting and, alongside tales of everyday life, are striking out. In fact; IDLES do not only look at politics and attacking bad practice. They view the streets around them and all the odd romances, ambitious people and strange scenes.

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Antoniou has a great Blues and Rock sound, I feel, could stir the same kind of passion as Punk. He is someone determined to keep his music real and relevant – ensuring it is never grey, common and lacklustre. He provides songs that stay in the memory and stray from the routine. I feel his wit and fantastic music could do wonders when looking at social concerns and divides. I am not saying he needs to go the same way as IDLES and Cabbage: investigating political stresses and anxieties, with his humour laced in, would be a great move. Maybe that sounds too controlling – Antoniou has his own way and motives right now. I feel the songwriter has goals for 2018 and wants to make changes in the music world. I can hear that endless passion and curiosity come through in every note. From interviewing Antoniou; he told me he has a set of poems that look at the Seven Deadly Sins. Maybe a crowd-funding campaign could get them to life. Those songs would look at modern life and bring the listener into something fascinating, strange and wondrous. Antoniou is a big fan of artists like Father John Misty, Arctic Monkeys and Bob Dylan. He loves Shame – all artists who involve social commentary in their music. I am interesting seeing where Antoniou goes and how his music develops. There is the humour of Father John Misty and the Blues chops of The Rolling Stones and Bob Dylan. Engaging with those Punk ideals and shining a light on the changing faces of Britain would seem, in my view, a great step for him. That might get him gigs with the likes of Shame, one would imagine. Maybe he has different objectives but, when interviewing him, that 2018 goal stood out: performing in a space like a church; blowing the roof off and bringing something raw to that setting. It would be, in a way, Antoniou’s version of Bob Dylan going electric (“Judas!”).

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PHOTO CREDIT: Paul Hammond

Although love, lost and estranged, is part of his locker right now; I wonder whether the songwriter will tackle fresh topics in his remaining releases. I am not in a rush to see Louis Antoniou rush ahead and change things too much. Recording at The Crypt Studios; the talented songwriter goes beyond the garden-variety songwriters who strum and sing the same stuff! Over the course of a few songs; Antoniou has moved from Blues-out strands and tales of wrong love and misguided affections. Here, on Lonesomeville, there is a different sound and different course. More wit had come in; the song is faster and rawer, in a sense – stepping more into Blues territory, I guess. A lot of new songwriters get a bit tense and feel the best way of getting under the skin of people is to repeat themselves for a while. They will release similar-sounding music to get their ‘sound’ and identity cemented. It is understandable given the way music has changed and how competitive things are now. You can alter your music and take in new influence without alienating people and scaring critics. I have seen artists take big steps between songs and get more people recruited. Antoniou has a common core but, with each single, brings in something amazing and unexpected. Lonesomeville is a track that will register with those who have followed his career so far. Anyone new does not need to go back through his catalogue and familiarise themselves with his work. Basing himself in London; there is a lot happening around and changes in the air. I feel it is only a matter of time before Antoniou is thinking of an album or something bigger. The fact he does not remain rooted and reproduce average music means he is a step above many out there. I would like to see him embrace the full spectrum of music and bring more of his influences in. I can hear the likes of The Rolling Stones and Father John Misty in his sounds. Given his talent and immense drive; who knows what he can achieve before the end of the year?!

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There are little nods to Arctic Monkeys and Elvis Presley in the early stages of Lonesomeville. There is an allusion to Heartbreak Hotel and some of the vocal sounds of Alex Turner (Arctic Monkeys). I hear elements of John Lee Hooker, The Beatles; Led Zeppelin and Blues masters in the song. It is a rollicking and explosive track that bursts forth and whips up energy. One can imagine the song being played in a cool bar with some fired-up and dancing patrons. What one experiences is all the strands and colours of Antoniou come through. You have the modern production backing a song whose lyrics investigate love and loneliness in a rather classic, old-fashioned way. You do not get the same clichés and obvious lyrics so many modern songwriters trot out. One hears bits of the 1950s come through in the verse. It is a witty and evocative number that has that physicality and story-like quality. Antoniou introduces story and conversation through the song. The girl, whoever she is, is a stickler for rules and guidelines. Maybe there is strictness and rigid façade that has got our man angry and alone. I am not sure, in the early stages, whether the two are together or not – or, whether this is a sense of pondering from the sidelines. The sweetheart has stamped on Antoniou’s heart – and his balls, in a sense – and left his jaded and spun. I am not sure what has compelled this assault and crush. Maybe she has been too uncaring and cold in the relationship. I feel, in a way, the hero was after a conquest and sense of satisfaction. Like The Rolling Stones and their lust for sex and getting their rocks off – I feel a sense of longing from Antoniou here. Maybe he did not aim for long-term and serious: a chance to get close to the woman and experience the thrill of the chase. That might sound cynical but, given the race and pace of the music; one gets into that mindset and hole. It is an energised and kicking start that gets you invested and thinking.

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The guitars grumble, yowl and scratch; the percussion rumbles and the strings twang, guide and dance. The hero rises above the band and lets his voice radiate. His heart has been broken and he has been left alone. I am not sure whether it is a big disappointment in terms of a missed relationship of the denial of satisfaction. It seems my natural scepticism has avoided looking at the song as a break-up and deep thing. Too many love-songs investigate splits and relationships with seriousness and dour countenance. It is all very po-faced and teary. Here; we have a song that has youthful cheekiness and does not take itself too seriously. The script was written with the girl in mind; she has the starring role and our man, he says, will bring her flowers before every show. At once, you get an ideal of classic films and something older. Whether you project the girl as a film-star siren or Muse of the stage – there is something oddly classy about the pursuit. Our boy does not want to slow and is trying everything in his book to get the girl’s focus. She is giving him the cold eyes and not fooling for his pound-store routines. That sounds cruel to the hero: he is putting the effort in and laying his heart on the line. One gets involved in the going-ons and pictures the two exchanging glances and intent looks. They are on different sides and, perhaps, have different ambitions. Antoniou locks his sites on the woman and makes it known he is a solid guy. I guess there is a part of him – no guessing which one! – that wants to get a thrill and find some physical release. The rolling and persuasive clamber of the composition keeps the energy levels high and gets the listener moving from the very off – keeping you here until the final notes. Towards the end stages; the Blues guitars howl and stand aside. There is some soloing that gives the song additional spark and sexuality. It is a fantastic parable that, when fused with bold percussion and disciplined bass; creates something fantastic and raw. By the time the song ends; you are looking for more and, ironically, want that musical orgasm. I am not sure whether the hero got his way and managed to win the girl around. All good songs leave the listener guessing and speculating after it has finished. You write new scenes afterwards and envisage alternative endings. Lonesomeville is a cracking song from Louis Antoniou and shows he is a step above most of his contemporaries. Make sure you get behind his latest work – and I Let the Rain Fall Hard – and see where the London-based artist is heading. It might be early in his career but, if he keeps releasing songs like this; I can see him going very far and playing some big stages. On a very cloudy, unpredictable and grey week – Lonesomeville is the song everyone needs to bring some sunshine, cheer and hope into the landscape.

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I recommend you have a listen to Louis Antoniou’s other single, I Let the Rain Fall Hard, as it shows incredible ambition and ability. That double-sided release is something we need to see more of in modern music. I get irritated seeing the same promotional campaigns and familiar promotional circulating the Internet. Putting out a twin-release means the public get two songs at once and, with it, differing stories and sounds. I have mentioned those who release material on cassettes – a great way of keeping the magic and charm in music. It might sound quite ‘cute’ given the fact cassettes are very rare and, well, obsolete. I wonder whether Antoniou will release his work to vinyl or bring in some cassettes releases. Antoniou has some London gigs coming up and, following a memorable past year; he is capitalising on that success and experience. Those gigs are a great way to get new material to the people. Antoniou seems comfortable in London and is taking a lot from the people and streets. The mixed population and constant energy runs through his blood and has compelled his imagination. I can see Antoniou going further and taking his music to other parts of the world. It is still early in his career but, from these early signs, there is every evidence to suggest he will be a big name very soon. I love what I have heard on Lonesomeville and am already looking ahead to see what comes next. Songwriters, now, do not really bring much wit and humour into music. I hope he thinks about a Twitter account – unless there is one and I have missed it completely! – as that will get his music to influential radio stations and sources instantly; ensure artists and labels around the world hear his stuff; gets to a large audience very quickly indeed. It makes sense in the modern times that every artist exploits every option available to them.

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PHOTO CREDIT: Paul Hammond

I will end this by talking about where Antoniou heads and why he is a name to watch closely. He looks at love but never does it in a hackneyed and stifled way. He is an expressive and open songwriter who ensures his music has a unique aspect and plenty of interest. I have been a fan of his for a while and seen the changes coming into his music. It is an exciting time for Louis Antoniou and his music. He has won legions of fans – but this is only the start of things. He has options ahead of him and various routes he can take. I know there are more singles coming and there will be gigs approaching. If you have not familiarised yourself with his music; ensure you get behind him and watch his every move. I said I am embracing female artists more and trying to create a sense of parity on my blog. Most of my requests are coming from men; a lot of what I do is about artists from London who produce the same sort of thing. That might sound gloomy considering the fact I am reviewing Louis Antoniou! What I mean is I have been wiped by a familiarity and lack of engagement. What I have found with Antoniou is someone who goes beyond the conventional and ordinary. His music has a spark and candour that is missing in the industry right now. Because of that; I know he will go far and collect plenty of praise. The double-release, Lonesomeville/I Let the Rain Fall Hard, is a wonderful offering from a songwriter who wants to go as far as possible. Get your ears behind Lonesomeville and experience something incredible. Even though these are the first steps from Louis Antoniou; I know his future will be very busy and bright. In a world with a lot of depression, hardship and struggle; we need an artist, like Louis Antoniou, who…

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PUTS some cheer back.  

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Follow Louis Antoniou

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FEATURE: The Garden Fence Rituals: Building a More Ambitious Musical Platform

FEATURE:

 

The Garden Fence Rituals

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ALL PHOTOS (unless credited otherwise): Unsplash 

Building a More Ambitious Musical Platform

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I am looking at my site and the number of posts…

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I put out on a ‘good’ week. Tomorrow, I will write about The Beatles and how their music has impacted me – as a reaction to the (long-overdue) knighthood given to Ringo Starr during the week. I think about the band and images come to mind; flashes of their music and when it first came into my life. I think about the band and they, really, opened my eyes to the possibilities of music. I have written about The Beatles but, as I think about them, something more full, impactful and thorough is warranted. Everything I do is written and textual. It is convenient writing everything down and not having to travel about: I get to put up a lot and it is nice and quick. I guess, in a busy week, I can produce twenty-five pieces, give or take! It is rewarding seeing so much go on my site – I wonder how far my work is going and who it is reaching. That is an understandable nagging, I guess! I want to share my love of music and what it means to me. My hankering for connection and a more visual site has led me to make a deceleration: I will take the blog in a new direction and make it more ‘cosmopolitan’. By that; I want to bring in more filmed interviews and do documentaries. It is exciting thinking about where I can go and what gaps can be filled. One of the things missing from music journalism is the visual/filmed element.

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You get video interviews and the odd bit: nothing consistent, broad-minded and expansive. It would be good to put out a regular podcast/series that looked at classic albums and charted the progeny/development of the record. It can bring in other artists and their take on that work. For instance; I could look at Fleetwood Mac’s Rumours – having seen a documentary about them last night. Instead of, how I normally would, write about it and have photos/songs embedded: it would be more judicious putting a video up that explores interview clips (from the band) and plays the tracks; brings the work to life and shows my face – something that has been lacking from my blog. I do not want to abandon the written aspect altogether. What I do want to do is cut back on the written interviews/features and introduce something recorded. Interviews will take the same assortment of artists – recording them in a ten-minute interview; making it more full-bodied and interesting. I will still write some features but, for the most part, turn towards visuals and audio – creating a more physical and personal blog. This is not only about me and my ambitions, mind. I worry music is losing its social edge and sense of connection. I titled the piece as I did – The Garden Fence Rituals – because I want that sense of leaning over the neighbour’s fence to have a gossip about the goings-on in the street.

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It sounds like a 1960s soap set in the North – early Coronation Street, perhaps? – but it is a romantic ideal. I worry I have been too insular and detached the past six years. Rather than concentrate on speedy posts and getting content out there quickly: taking time and producing something stylish and striking. I have been thinking about other documentary ideas and investigating various angles of music. Most of the journalism we see out there tends to have written articles - and that is about it. I have written about the subject before: the way journalism lacks visual/filmed aspects and can break ground. I realised, when I had my realisation, is that we are all in a rush and want something digestible and fast. How many of us will sit down and watch a video interview or documentary? One of the best things about music is meeting an artist and discovering more about them. The process of going to a gig and being among like-minded people is an experience you cannot better. It is great being in a  ‘church’ where everyone agrees and there is a genuine truth. Going forward; I am eager to play more of the music I love and mix the older with the new. Radio is, really, one of the only forums where we can get that blend of the brand-new and old. I look on streaming sites and they focus on the fresh – overlooking what has come before and, because of, endangering the preservation of classic sounds.

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There are some great radio interviews but, look at music journalism, and we are still dominated by the printed form. Maybe the journalist will go and speak to the artist and record what they are saying. That gets transcribed and the reader views the interaction. I feel much more connected to artists, and music, when it is audio/visually-based. The same goes for features. The journalist writes about a subject – whether it is sexism debate or a look at the best albums of the 1960s – and it is good to see it written down. I can learn a lot but, I feel, the best way of making something stick and reaching a wider audience is providing something in audio. Think about a subject like, say, music videos. It is something explored in music journalism occasionally – I have not seen a piece that vividly and explicatively looks at the declining forum. I worry there are fewer knockout videos and stunning examples. I think back at legends like Chris Cunningham and Michel Gondry – my favourite director – and the work they have created. One can do their own research and see those videos: having a feature that puts them onto the screen and interviews fans/fellow directors would be much more effecting and long-lasting. There are so many other features one can see in music journalism. I know there are podcasts out there – mixed in terms of memorability – but a site like mine could interview musicians, older and new, that talks to a musician and asks them about upbringing and tastes; their path through music and bring in something light-hearted – mixing Desert Island Discs and Room 101 elements with a more traditional interview series.

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IN THIS PHOTO: Michel Gondry/PHOTO CREDIT: Getty Images

Music journalism is far less sociable and engaging than music itself. I wonder, actually, whether music itself is human and physical as it could be. Streaming services and the way music is marketed means we rarely get to hear about the making of that music and hearing from the artist. There are videos put out there but that the industry is so fast-paced and busy – how often do we get to bond with that artist or learn more about them?! The reason I want to reinvent and develop my blog is the potential of the audio and visual mediums. Not only can all the possibilities (I have mentioned already) come to the fold: there could be handy guides for people; covering a number of subjects. It might include P.R. tips for musicians and how to get a booking agent; a look inside venues and the best around; a concentration on the music of the North and how it has impacted the popular scene – there are so many other options! I wonder how far I can take my own site and what can become of music journalism. At any rate; I feel like something more interactive and adventurous needs to unfold. Even if we have little time to read pieces – and prefer things on-the-go – the only way we will bond with music, current and past, is to slow things down and provide something much more engaging and ‘human’.

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Creating that direct link between the public and the music is paramount. I love promoting the artists I do but feel I can do more. There are so many options available to me. Whether that involves creating my own audio-visual environments - regular features/podcasts and filmed interviews – or connecting with other stations/platforms; I am keen to explore the limits and potential available in journalism. Radio is, still, the most effective and direct way of bonding the people to music: bringing more of that into regular music journalism would not only create greater interest – it would revitalise a flagging field and get more people interested in pursuing it as a career. Of course, being sociable and adventurous takes money and time. It does require a slight overlay: the benefits and advantages of taking that leap is hard to put in terms of currency and profit. That is the realisation I have made. I love my blog and it provides an escape and fulfilment I desperately require. Whilst it is fulfilling seeing artists benefits from my words and time…there is a part of me that wants to get out into the open and actually SEE the people. Being stuck behind a laptop fosters isolation and disconnection that is prolific in journalism. Getting among the people and putting up those conversations; recording features and bringing people more into things – THAT is what we need to see. I will go about my changes and developments: I hope others follow suit and change the way music journalism is presented. If we can, all, create a more vivacious, deep and multi-platform discipline; it will bring music to more people and capture the imagination at the same time. I am not suggesting it is as heartfelt and intriguing as that conversation over the garden fence! It is, however, a great way of making music journalism, and sites like mine, a much more sociable and…

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EXCITING medium.

FEATURE: Trollin’: Why Online Abuse Needs Stamping Out

FEATURE:

 

Trollin’

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ALL PHOTOS: Unsplash 

Why Online Abuse Needs Stamping Out

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A couple of things happened last week…

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that affected me and raised questions regarding the way we interact online. I have been following a couple of bands – who shall remain nameless – who have been indicted for sexually assaulting/abusing a female fan. This is, sadly, something that is becoming more common in music. There are male bands out there – and some solo artists – who feel, because they are adored by their fans, that gives them an all-access pass to their female audience. In their mind, that translates to unwanted suggestions, touching and worse…many have been accused of rape and serious abuse. I am not sure how far the problem extends to music. I am hearing these stories come to light: it may go a lot deeper and affect a lot more people (than are coming through). I am seeing, worrying again, a lot of online abuse and stalking. A lot of female artists have come out and highlighted various people – nameless again – who have approached them with snide insinuations, sexual indecency and vile messages. The issue does not only extend to musicians themselves: members of the public take it upon themselves to send messages/photos to musicians and think they can get away with it. In a week where Cambridge Analytica has been accused of mishandling people’s personal information -  wonder whether data-collecting/analysing companies should use their skills to monitor and police social media...

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I am concerned there is too much abuse happening in a space many musicians come to find fans and support. I have already mentioned some of the physical assault and attention female artists are getting. When it comes to online interactions; I feel there needs to be a ruthless code of conduct that punishes those who flagrantly disregard the rules. It is not only female artists/users who are finding themselves being trolled and abused. Why there are male artists getting attacking messages and profane comments; it is the sort of attention women are afforded that troubles me greatly. I have seen YouTube videos where a female artist has received some truly shocking comments. A couple have focused on the looks of that artist. Either, they have been degraded and insulting – glad she sings as her face and body are ugly! – or overtly sexual and perverted. It is hard to think of a time where there has been so much unfiltered and unchallenged material floating around the Internet. It is horrible seeing men – mostly but not always – feel they have the right to throw anything they wish into the open. As I say; there have been comments made about a woman’s physical appearance; I have seen direct and scolding attacks on someone’s voice and songwriting – others that abuse the musician directly or cast them in mental pornography. Is it the case that a female artist should be exposed and degraded because of their gender?!

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The Internet, unfortunately, is a space that does not discriminate on the grounds of gender. I am seeing feedback from male artists who have been contacted by strangers – receiving threats and insulting remarks. I have looked at some videos where the comments section has been upsetting or plain cruel. Whilst people are entitled to their opinions: how they go about expressing that freedom is not right or understandable. The Internet is this forum where everyone can contact someone or have their say regarding anything. It is a platform that opens doors, minds and opinions. It can be very helpful for musicians: hearing fans’ views and getting that direct correspondence provides heart, motivation and insight. I like receiving messages/updates from people who see my work and are keen to express their thanks. It is heart-warming and comforting to know people are kind and willing to connect. More and more, to balance every kindness, there is a slew of crap and sewage that threatens to take a toll on the music industry. The nature of abuse is varied but it boils down to sexual/sexist commentary and profanity. I have seen death threats and racism being exchanged on social media/sites – a small number of people who feel they have the right to say the most despicable things. How do we go about challenging this practice and seeing change?!

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There is a line to draw when it comes to what is acceptable and what can be considered harmless. It is important to differentiate between ‘banter’ and casual mockery and out-right attack. Music is not like politics: it is a forum that should encourage respect and understanding. I am not saying politicians deserve attack and coruscation; music does not deal with people and issues in the same way. Musicians are here to make things better and offer something good to the world. I can appreciate someone would dislike a song/artist – people are allowed to express disapproval and criticism. There is a limit as to what can be said and shared online. Whilst something constructive can be shared regards a song or artist: abusing them and making them feel uncomfortable is not something we can allow to happen. Nobody should have to go online and have to face the sort of abuse that is available. Moderators need to be stricter with comments and cast their net wider. At the moment, people can be banned and arrested for making threats and posting racist comments. I know this happens on sites such as Twitter and Facebook. I wonder whether we need more vigilance when it comes to the likes of YouTube. Many new artists are putting their music out there and, rather than getting kind feedback and praise: they are receiving vile and upsetting posts from people whose agenda is to destabilise them. People, mainly men, are sending sexual comments or attacking appearance.

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Even if the comments are about the music itself; is it right to allow profanity and huge negativity to feed in?! I feel part of expressing dissatisfaction with a song/artist needs to be met with limitation. I am not a fan of Coldplay – I do not go to YouTube and post insults on every one of their videos! Why people feel they need to belittle and humiliate artists is quite beyond me! The toll this sort of thing is taking is immense. There is already an issue with mental-health in the music industry. Allowing abuse to circulate and infiltrate is adding to that burden. As we talk about sexism and the way women are portrayed and addressed in the music world; online comments are highlighting why we need to be strict with those who offer nothing but distaste and rudeness. I am hearing about bands who share explicit images of themselves with fans; others who post photos, sexual in nature, of fans and those they have abused. It is hard to get a grip on the full extent of the problem: the Internet is so wide and busy, one cannot ensure every single thing posted is reviewed and treated in an appropriate manner. Those who do blatantly show no respect for someone should be banned from social media, I think. One cannot see the justification for going after someone and showing such little regard for their feelings.

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Anyone who treads into criminal territory needs to be dealt with swiftly and brutally. The Internet needs to be a safer space and, at a time where the security of people’s personal data is being questioned and put under the microscope – do we need to take a look at everything posted and weed those out who are there to cause harm?! It need not be something as elaborate and complicated as thousands of people monitoring every portal of the Internet. My suggestion is simpler: algorithms and programmes that views every comment and detect the abusive from the acceptable. It would not be as swift as someone being blocked and banned after that initial comment. There needs to be a sense of review – to determine the intention and veracity of the remark. That might sound complicated but it would not have to be – if we spent a bit of money and time ensuring people are protected. I am getting annoyed at certain people who bring their brand of insult and cruelty to people. Trolling and explicit comments are not something we want to see associated with music. In fact; nobody wants to see it in any corner of the world. To ensure we do not add to the debt of poor mental-health and degrade musicians; we need to get tough with people who flout the law and think they are above punishment. Setting examples would deter others and show you cannot get away with calmly abusing people. The rise in sexual abuse claims and trolling needs to be tackled and stemmed. If we can do that, and reduce/eliminate disturbing and unwholesome comments, that can lead to a refinement and improvement. People would feel safer and, with it, we can create an environment where musicians do not need to worry and…

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FEEL unsafe.

INTERVIEW: WILDFIRES

INTERVIEW:

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WILDFIRES

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MANCHESTER is a part of the world…

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I am always keen to explore. I have been speaking with WILDFIRES about the city and why there are such strong connections among musicians. They discuss their new track, Mr Solo, and how it came together; what they have planned regards material/touring – what music they are all inspired by.

I ask whether there are new artists we should be aware of; how stunning vocals (from Poppy-Jo) add to their musical beauty; what it was like recording at Medicine Room Studios; how the band got together; if they get any time off from music – the guys all select a song to end the interview.

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

How’s it going!? We’re amazing! Our week has been pretty mega. We got played on BBC Radio 6 Music on Saturday and again yesterday on the BBC Introducing Mixtape - so it’s very hard not to be smiling!

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

We’re a four-piece Manchester band consisting of Poppy-Jo on Vocals, Ste Darling on Guitar; Nath on Bass and Si James on Drums. We like to think that we’re a bit new, a bit different and, maybe, bring a sound that people haven’t really heard before. We mix twangy guitar sounds with electronic synths to create a sort-of ‘Indie-Electro’ vibe.

Mr Solo is your latest song. Is there a story behind the song?

Everyone that has heard it has interpreted Mr Solo in so many different ways. A lot of people characterise Mr Solo and, for them, the song’s about this lonely guy that shuts himself off from the world. It actually has a bit of a deeper meaning and kind of says that we are all ‘Mr Solo’ in our own ways – so we’re all in it together.

The vocal beauty and strong production makes it an instant, yet deep, song. It mixes dirty and refined. Was that a conscious decision?

Absolutely. We’re aware of Poppy-Jo’s husky vocals - and we love to use that to our advantage by contrasting it against all the other stuff we have going on. We, originally, wrote the track all on synth but, to make it sound more ‘us’ and less dancey; we developed the chords on our instruments. It’s so fun to play for us - and we can imagine how much bigger it will be live!

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What was it like working at Medicine Room Studios?

Medicine Room Studios is so cool. It’s a former elderly people’s home and the room we record in used to be the old medicine room – hence the name!  It’s obviously very creepy but it all adds to the ambience - and it’s a great story to tell…

Dom, who produced our track, is an absolute legend, too. He was so honest; contributed loads and really knew his stuff.  The man’s a genius!

Is there going to be new material coming later in the year?

Very soon, actually! We’re recording two new singles and, hopefully, will have an album by the end of this year. The next thing we have in line, though, is Mr Solo’s music video! We’ve just started the filming and there’s definitely going to be some surprises in store with that one – think Prodigy’s Smack My Bitch Up mixed with OK Go…we can’t wait to release it.

How did you all get together? When did WILDFIRES come to be?

We have the wonders of the Internet to thank for bringing us together. We met on a kind of dating website for musicians: Natural Music Selection, we say. Hahaha. The modern-day world, eh!

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I hear everything from Nina Persson and Bombay Bicycle Club in your music. Which artists are you influenced by?

We actually all have very different music tastes in the band, which is amazing for influences (but a nightmare for the aux in the car. Haha!) We feel particularly influenced by bands like LCD Soundsystem, The xx and, in lyrical ways, Guy Garvey and Amy Winehouse. We’re all so passionate about music, that elements from our songs can be heard from all different genres...from Electronic/Dance, right through to heavy Rock!

Manchester must be a great place to create music! What is the city like for artists?

It’s definitely competitive, but the atmosphere is unreal on the music scene: Manchester’s never lost that. Every time we gig we make new friends or networks; whether it’s other bands or (just) the people that get chatting to you after you’ve played. Manchester has so much history, especially in music, so we can’t even express how proud we are not only to be to be born here, but to be creating our music here too

Can we see you tour soon? What gigs do you have coming up?

We actually have nothing set in stone yet - as we’re focussing on writing and perfecting our set-list. The idea of people being familiar with our songs when they come to watch us is really important to us - but we’re also in a hurry to get back out there, so keep your eyes peeled very soon!

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What do you hope to achieve in 2018?

We just want to get our name out there a bit more, you know!? We work so hard at this like so many other bands, and to gain recognition from it would be so fulfilling. Every new person that listens to our music (and enjoys it) is a massive achievement for us.

Anything after that is (just) a bonus!

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Have you each got a favourite memory from your time in music – the one that sticks in the mind?

Our favourite memory is probably when we played a tiny pub in Stockport called The Blossoms - where the band got their name. It was a tiny gig but felt massive because of how packed this little room was! We accidentally went too Rock and Roll for our own good and got a bit merry on stage so, by the end, we were just going mental with all these people dancing in this tiny pub – it was like a rave that just played our own music. Hahaha

What advice would you give to new artists coming through?

Stick to your guns and believe in yourself. Very cliché, but it’s something we live by! By all mean, take on criticism and listen to those that know their stuff – but, instinct and confidence is the key.

Don’t let anyone stop you from doing what you love...

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IN THIS PHOTO: Freeda

Are there any new artists you recommend we check out?

A fellow Manchester band (sorry, we back our own round ‘ere!) called Freeda (from Mossley). Really up-and-coming sound - and some proper bangers to have a dance to!

Do you all get much time to chill away from music? How do you unwind?

Truthfully? No! hahaha. We never stop! We all work full-time as well, as a band so, whenever we’re not at work, we’re writing/jamming/blogging. It’s like having a business: keeping the website, the social media up to date - it’s all very important to keep us fresh in people’s minds while we write!  On the rare occasion that we do get some time to wind-down; it’s always at the pub with a crisp cold pint of Guinness. Standard.

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

Poppy-Jo: Take a Slice - Glass Animals

Ste: Rip It Up - Orange Juice

Nathan: Chateau - Angus & Julia Stone

Si: Gravity - John Mayer

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Follow WILDFIRES 

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