INTERVIEW: Luca Fogale

INTERVIEW:

Luca Fogale

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IT has been interesting discovering…

more about Luca Fogale and what makes him tick. The Canadian songwriter has been telling me about his latest track, What I Came Here For, and what it is all about. He talks about the music scene in British Columbia and whether any tour dates are confirmed – including a trip to the U.K.

Fogale explains his favourite albums and musical tastes; what advice he would give to new artists; if there is a musician out there we need to keep our eyes open for; when music came into his life – the songwriter ends the interview with an awesome song choice.

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

Everything has been great lately, thanks! I hope the same for you.

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

My name is Luca Fogale. I’m a singer-songwriter from Burnaby, British Columbia (Canada).         

What I Came Here For is your latest song. I believe it was inspired by your grandmother. Can you tell me about that?

I wrote the song after hearing a story from my grandmother about surviving an air raid in her hometown in Italy during World War II. She told me that one of her family members was killed in the first few moments of the attack and so she and the rest of her family and friends (that she was with at the time) realized that there wasn’t anything that they could do to stay safe - so they just held onto each other and hoped that they would make it through alive.

I found a parallel to my own life inside of that story; that at certain moments in time it can feel as though the only thing one can do is stay close to the people that mean the most and stay patient and positive until things get better.         

Is it a song that a lot of people react to and connect with?

It is! Playing the song at shows for the past few years, it always seems to be one that people in the audience resonate with.

I’ve spoken with people who have been through similarly traumatic experiences as my grandmother had; people who listen to it to help them fall asleep at night or wake up in the morning; people who decided to reconnect with a past partner after listening to it - and seemingly endless other reasons. It’s such a wonderful feeling to know that, if nothing else, I’ve written something that makes sense to someone.

Might we see more material coming down the line? What are you working on right now?

Absolutely. I’m currently in Montreal working on my second full-length album.

You are based in British Columbia, Canada. Is there a vibrant music scene there at the moment?

I think the British Columbia music scene has been getting better and better in the past few years, especially with an emergence of house concerts and multi-use-venue shows that have been becoming more and more popular because of a push-back against the more popular massive shows that happen when international touring artists come to town. When I was starting to enter the Vancouver scene six or seven years ago, it could be difficult to get people to shows unless they had already heard of your music and there still isn’t much of a culture around venues having a built-in audience. But, I think we’re moving in the right direction!

When did music come into your life? Was there an artist or album that lit the fuse?

Music has always been in my life since I started piano lessons when I was seven, but it never really held an important space for me until I found Bob Dylan and Joni Mitchell’s music and realized how much power songwriting can hold. Once that happened, music became the thing that fills most of my time and thoughts, and it has been that way ever since.

Can we see you tour this year? What gigs do you have coming along?

Yes! We’re currently working on a tour for the fall and I can’t wait to get back on the road. The next gig I’ll be playing is at an incredible small festival in B.C. called Tiny Lights (Festival).

Might we see you in the U.K. at any point?

Hopefully, very soon! Touring the U.K. and Europe has been at the top of my list for a very long time…

What do you hope to achieve in 2018?

I’m really excited to finish the album that I’m working on right now. I’ve been feeling more connected to music than ever and think that that sentiment is carrying through into these recordings.

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

A lot of my favourite memories have come from touring Canada and getting to meet an endless amount of amazing people across this country that I love so much. If I had to pick a notable memory it would be of a conversation I had with a girl in New Brunswick who bought a guitar after hearing my album, Safety, and she had started writing songs in response to mine. It was one of the most humbling experiences of my life.

Which three albums mean the most to you, would you say?

The Freewheelin’ Bob Dylan - Bob Dylan

Hejira - Joni Mitchell

In Rainbows - Radiohead

What advice would you give to new artists coming through?

Tour and tour and tour…and when you’re not on the road, write music as honestly as possible. Both of those things are essential to connecting with someone who needs the specific music that you’re able to create and perform.

Are there any new artists you recommend we check out?

Not necessarily new but very new to me! - Perfume Genius. He’s got a new record called No Shape that I can’t stop listening to.

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

Haha. Music plays a lot of different roles for me, so I’m usually just playing or writing - but one other thing that I love to do very much is to cook.

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).

Right on!

Sam Weber - The Heat

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Follow Luca Fogale

PHOTO CREDIT: Nishi Shinjuku 

Facebook:

https://www.facebook.com/lucafogalemusic/

Twitter:

https://twitter.com/lucafogale

Instagram:

https://www.instagram.com/lucafogale/

SoundCloud:

https://soundcloud.com/luca-fogale

Spotify:

https://open.spotify.com/artist/3GKdEPHUSBp3iNT4SG2Med

YouTube:

https://www.youtube.com/channel/UC-3vRjhcMf8_BoYwwbHrR2A

INTERVIEW: Dossey

INTERVIEW:

Dossey

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MOVING us gracefully and seductively…

through the middle of this week is the incredible Dossey. She has been telling me about her latest cut, Heartbeats, and what more we might expect later in the year – she tells me why the music of the 1980s is so important and influential to her.

Dossey reveals albums that mean a lot to her and how her solo work differs to that she creates with Indian & the Jones; whether she’ll come to the U.K. this year and perform; musical memories that stand out in the mind – the Austin-based songwriter recommends some local new artists to check out.

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

Hi! Thanks for having me!

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

My name is Sarah Dossey. I play Electro-Pop music in Austin under the name ‘Dossey’. I’ve played in a few different Folk/Americana/Bluegrass bands, but this is my first Pop project - and I’m having so much fun. I’ve always loved Electronic music and also am crazy about creating catchy hooks and ear-wormy songs…so Dossey has been a super-fun experiment for me!

Heartbeats is your new song. What is the story behind the track?

I co-wrote the song back in Nashville in January 2017 with a couple songwriter buddies of mine, Adam Palmer and Lainey Wright. Conceptually, we wanted to write a song about a real love - something that can withstand the test of time or trials and just feels natural and normal. It’s hard to find that!

Since then, the song has taken many forms. I began working on it in June with a producer friend in Austin, Taylor Webb. He and I worked on the song for several months - seeing several renditions, arrangements etc and finally landed on something that is this surprisingly nice (in my opinion, at least!) blend of '80s Pop and current E.D.M.

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

Yes! I’ve got another single coming out in August/September and, most likely, one or two more before the year ends!

Did you always know music was where your heart is?! I get a sense the music of the 1980s is important to you…

I think I’ve wrestled with it a lot. I grew up in a family where music was definitely important, but not exactly portrayed as a viable career option unless it was as a Classical musician. The first musical production that I know of was when I played a goat in a farm musical in first-grade - which I had always thought was my first taste of music but, according to my family, I’ve been making up songs about pretty much anything and everything for as long as they remember….

As far as the '80s is concerned; I think it’s honestly less of an obsession with the music of the decade than it is the cultural feeling (of the decade). People experimented so much with art in the '80s! It was, like, anything goes - in fashion, everything was loud and fun. Very extreme prints were always lined up next to one another. Music was so dramatic. Pop music, especially, had such fun melodies and concepts.

Austin, Texas is where you are based. What is the music scene like there at the moment?

Austin is, and has always been, a guitar town! As you might imagine, Country/Americana music will always be king here, so there’s a ton of that happening. The Rock/Psych scene is super-prevalent as well. Not much Pop going on here, admittedly, which can be a challenge but it only makes me hustle harder. The music community here is actually really tightly-knit - we all support one another at shows, we write together; we’re in each other’s music videos.

I’m actually working on several different projects with people from different bands right now…

How do you think your solo material differs to the work you do/did with Indian & the Jones?

It literally differs in every way, except in the songs. As I mentioned before, I’m a huge song nerd. I don’t naturally sit in a room and start making sounds first and add the lyrics and melody on top: I prefer to hash out every detail of the song itself before it gets to the computer (smiles). That’s definitely how Folk music has always been made.

With I&TJ, we do have several instrumentals but the other songwriter in that band, Jesse Schaefer, is also super-nerdy about writing meaningful, well-crafted songs…so we work well and hard together. I’ve loved being in both projects in tandem - it feels like I get to use both sides of my brain; I feel it stretches me and makes me more creative.

Can we see you tour this year? What gigs do you have coming along?

At the moment, I’m focusing mostly on local or Texas-based shows, but I do have some one-offs to some key American cities in my sights as well. I try to play in Austin about once every three-four weeks. I’ve got a release show for the Heartbeats music video (!) at a place called Swan Dive here in Austin on 6/30 with some really awesome artists (Jane Ellen Bryant, ALKI and Loud Bird) joining.

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

I’m actually trying to! According to Spotify, you Londoners are listening! T.B.H., most of my influences are from your part of the world (ABBA, The Knife; Massive Attack and Fickle Friends), so I can see how that can funnel into the sound. Know anybody that can help me get over there?!

What do you hope to achieve in 2018?

At the moment, I’m just trying to work as hard as humanly possible. I don’t want to ever say ‘no’ creatively. I’m experimenting a lot with different sounds, working with a lot of new people; trying out any and every format of my band/solo live set I can think of and just hustling in general.

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

Honestly, the most amazing memories from making music have been when I have been given the amazing opportunity to help others through it. For example, I’ve traveled to China with a local organization called Austin Sound Exchange, where we spent over a week playing shows for a ton of college students every night and working with those in music and English classes during the day. It was, and continues to be, incredibly rewarding.

The other favorite moment was when myself and my buddy Tanner Evans (from Indian and the Jones) had the chance to play music for evacuees from Hurricane Harvey in September of last year. The city of Austin invited us to walk in to a shelter and play soft music during breakfast one day and it seemed to be so peace-giving to the people there who had, quite literally, lost everything the week before.

Which three albums mean the most to you, would you say?

EASY - but I have to say four:

Rumours (Fleetwood Mac); The Immaculate Collection (Madonna); Wildflowers (Tom Petty) and Graceland (Paul Simon).

What advice would you give to new artists coming through?

Hustle Hardest! At a certain point, who ‘makes it’ or who ‘doesn’t’ has little to do with talent, but mostly to do with some strange, secret blend of Working the Hardest and Luck.  At least, I think that’s it?! Haha.

Are there any new artists you recommend we check out?

Yes! I’m all about Austin bands, of course - especially ones with ladies at the forefront. Check out Shy Beast, Jane Ellen Bryant; Sweet Spirit, Go Fever; Signy, The Wild Now; FINLAY and Jaimee Harris.

All these ladies are KILLING IT right now (and based here in Austin).

IN THIS PHOTO: Jane Ellen Bryant

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

I swim! (We have a natural spring, Edwards Aquifer,  that comes up from underground and makes for some really amazing spots to swim around town (The Greenbelt). I also do Bikram Yoga almost every day, and lately, I’ve been taking some evening spins around my neighborhood on my bike. Otherwise, a delicious meal with a glass of Zinfandel can calm me down almost immediately.

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).

Oh, fun! Lately, I’ve been listening to How Will I Know by Whitney Houston on the daily.

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Follow Dossey

Official:

http://dosseymusic.com/

Facebook:

https://www.facebook.com/dosseytx

Twitter:

https://twitter.com/dosseytx

Instagram:

https://www.instagram.com/dosseytx/

SoundCloud:

https://soundcloud.com/dosseytx

INTERVIEW: Scarlet Sails

INTERVIEW:

Scarlet Sails

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THE fantastic Olya and Brian…

from Scarlet Sails have been talking about the video for their track, Hideaway, and how they met one another. I was eager to know whether the American group has plans for more material and whether Olya and Brian have any precious and special memories from their time in music.

Brian talks about life away from The Dresden Dolls (he is one half of the famous duo) and what Scarlet Sails hope to achieve before the end of the year; if there are plans to come to the U.K. at any point – Olya recommends some new artists worth watching out for.

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

Olya: Heeey! This week’s been crazy! The Hideaway video came out and we’ve been receiving an amazing response on it so far. also just spent last two days on set waking up at 4 A.M. and celebrating my eighth New York Anniversary in Brooklyn shooting our new music video for our next single, Upside Down.

Brian: I am a veritable flower of elation. This week has been an insane confluence of things in the works for many months and they all bore themselves nearly at once. We had the premiere of the new Scarlet Sails video for Hideaway; we signed with United Talent Agency booking - which gives a huge step forward touring the U.K. and Europe. The Dresden Dolls' shows at Troxy for Halloween were announced and the pre-sale sold out in fifteen minutes and we’re preparing the next Scarlet Sails video shoot. Bonanza.

The video for Hideaway is new. What was it like filming it? Was it a lot of fun?

Fun and slightly harrowing, as the original person we hired to film it bailed two days before the shoot and Olya’s very good friend and director/videographer, Karina Kandel, swept in and saved the day like a hero at the eleventh hour - with about seven of our friends who helped out with everything from production to costume design. Video shoots always, without fail, leave me feeling lucky to have the awesome people around us that we do...

Olya: Yes. Something that could have been a disaster turned into a miracle thanks to the wonderful, magical people around us. We pulled it together at the last minute and I consider myself extremely lucky to collaborate with such incredibly talented, resourceful and hard-working people like Karina and Brian - and the rest of the crew who showed up on a short notice and made it all happen.

Is there going to be more material from the band later this year?

Brian: Absolutely. Olya’s been on a writing streak over the last few months and we’ve been amassing demos here…so you can count on it plenty of new songs, especially at our live shows.

Olya: Yes. Like I mentioned earlier, we just finished shooting a video for our next single, Upside Down, which will be A LOT of fun. There are many new songs in the making and we like this new material so much that it is hard to pick which one has to come out next. It is a blessing and a curse of an independent artist: you make all of the decisions on your own. (More of a blessing, of course). No, total blessing, but a pain in the arse sometimes. Haha.

Can you reveal how Scarlet Sails got together? How did you find one another?

Brian: I had all but given up on the idea of finding someone until one night I found myself at a Black Flag tribute show on the Lower East Side at a club called Bowery Electric and, after the show, I was not just ‘shot’, but maimed by Cupid’s arrow, upon seeing Olya and talking with her. A friendship led to courtship and soon we began playing music together, working on her songs.

Since she told me it was her dream to pursue music for her life, and the amazing foundation we’d developed together, we knew that we could share our dream together and found the right person in each other - rather than feel at odds with a partner who couldn’t relate to our passion to play music.

Best fu*king thing that’s ever happened to me.

Olya: BOOM! I think Brian’s answer sums it up perfectly. Haha. I feel the same way. ALL THE WAY…

Brian. You are half of The Dresden Dolls. Was it easy transitioning to life in a band like Scarlet Sails?

It was absolutely second nature by this point. There are so many parallels in terms of the passion, commitment; the focus and the creative process involved, especially when one feels a stake in a band’s mission as a founding member and not just a sideman to help achieve an end, that it spoke as an absolute extension of my life, rather than switching gears.

Ironically, it was Violent Femmes that I left to pursue Scarlet Sails (not The Dolls) and the Femmes were, in many ways, the same situation as a new band because they hadn’t released an album for nearly fifteen years…so there was a lot of work to do, interpersonally and logistically, when I joined them...just like a new band starting out.

The most crucial thing for me is feeling like I’m working to my capacity with other people who equally invested in creating music we love. It’s very rare, so I appreciate the fact I can share that experience with Olya, Mark and Kevin in Scarlet Sails.

Brooklyn is where you are based. What is the music scene like there? Is it the best area of New York to discover hot new artists?

We’re actually based in Manhattan and the music scene across all N.Y.C. is diverse and fragmented; always in flux with bands, venues and neighborhoods hailed as the next cool thing that people flock to. I lived in Williamsburg, BK in 2007 and have lived at this crazy, huge old rent-controlled brownstone since 2008 and I absolutely love it here as a home base - though I’ve always looked internationally when it comes to music. 

I get out to support the bands here I do love here and, otherwise, keep my sites on the big picture for making the best music we can building a connected scene with bands across continents…

Olya: You can discover a hot new artist anywhere. I don’t think it’s fair to say Brooklyn is the destination for it. There’s Lower East Side, there’s Harlem; there are some random clubs in Queens and all over five boroughs where you can hear someone or some band incredible playing. We’re lucky in New York: we just have to provide eyes and ears. Everything else is already here in abundance.

Where are you heading on tour? Where can we catch you?

Brian: We have a run of headline dates and festivals in the Northeast U.S. in June and July which people can find right HERE - including playing with The Posies in Boston on their thirtieth-anniversary tour, which we’re stoked about.

Might you come to the U.K. before the end of the year?

Yes! As we switched agents just recently, we’re booking a short U.K. tour in the first ten days of November to follow the Dresden Dolls shows. Updates soon. Can’t wait!

Olya: We just got a confirmation from our booking agent that we will be there sometime in November! I love British music and British culture and it’s gonna be my first time in the U.K., so I’m extremely excited for this run.

What do you hope to achieve in 2018?

Brian: Worrying less about controlling the outcome of things and having more trust in everything working out and presenting situations I couldn’t have imagined.

Olya: I hope for us to continue doing what we love and to get to travel more playing shows across the globe.

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

Brian: SO MANY! The camaraderie and friendships that stemmed from the 2007 tour with Cyndi Lauper; the surrealistic experience of recording with Nine Inch Nails on a junk-pile drum-kit I made; stumbling around the majestic setting in the rainforest at the Fuji Rock Festival in Japan.

This might seem a silly one, but one of the best things I ever heard was driving back from New Hampshire after Scarlet Sails first gig there and Olya had her feet up on the dash of the van. Judas Priest cranked on the stereo, munching snacks, and she says with a smile: “This is the life…”. I get emotional thinking of it…

Olya: My new fave is this video shoot we finished yesterday - the time we recorded our new single for Upside Down. Almost every new music memory is my favorite. Haha. I loved touring with Nina Diaz and covering Under Pressure with her...

Loved singing Delilah with Dresden Dolls. Love every show we get to play with Scarlet Sails; headlining Gramercy Theatre was amazing at the end of 2017. Really looking forward to playing with The Posies in Boston and headlining the Not Your Mother’s Music Festival with Drake Bell.

If you could support any musician alive today, and choose your own rider, what would that entail?

Brian: Nick Cave and the Bad Seeds, with an endless supply of noise-makers and Silly String on the rider, for contrast.

Olya: The Killers put one of my fav live shows so they would be great to tour with. Nick Cave is great, too. For the rider, I just need plenty of water, cucumber; strawberries and a massage therapist.

What advice would you give to new artists coming through?

Brian: Don’t spread yourself too thin: pick something you’re passionate about and commit to it and give it all you’ve got; never do it half-assed. Ask around for help and use your resources creatively for everything else. Get people involved around you that care.

Olya: Believe in yourself. Don’t let anyone put doubts in your head. You pick the road, you stick to it. It’s your life and nobody can’t take it away from you…

IN THIS PHOTO: Vista Kicks/PHOTO CREDIT: Anna Maria Lopez

Are there any new artists you recommend we check out?

Olya: I like Woodhead (New York band, really good friends), Vista Kicks (based in L.A.); Kelli Schaefer (Portland, OR), Uni (New York); Starbenders (Atlanta), Fiona Silver (New York) and Luke Buck (New York).

IN THIS IMAGE: Kelli Schaefer

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

Brian: I have pet dogs. I do some gardening, or go to the beach and get in the ocean (or a combination of one and three...).

Olya: Walking, biking; reading, seeing friends; watching movies and traveling for fun.

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).

Brian: Here’s a song more people should sing to relieve stress: 

Fuck 'Em - Shell Silverstein

Olya: Something that was stuck in my head while I was answering the question for this interview: Childish Gambino - Redbone

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Follow Scarlet Sails

Official:

http://scarletsailsband.com/

Facebook:

https://www.facebook.com/scarletsailsband/

Twitter:

https://twitter.com/_scarletsails

Instagram:

https://www.instagram.com/ScarletSailsBand/

SoundCloud:

https://soundcloud.com/scarlet-sails-band

YouTube:

https://www.youtube.com/channel/UCo79HgXPheODvdEj-kmfO1Q

INTERVIEW: Individual Recordings

INTERVIEW:

Individual Recordings

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THERE is that blend of enigma and raw honesty…

when listening to the music of Individual Recordings. I have been talking to Paul, the man behind the music, and how the concept got started; how he came to work alongside Bethany Compson-Bradford and whether there is a chance he will take his work on the road.

I learn how all the fascinating sounds come together and what we can expect from the forthcoming album; when music arrived in Pau’s life and what advice he would give to fresh artists coming through – the talented musician recommends a new act worth some time and affection.

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

Fine. Thank you for asking. I'd say that the week's been an average week…

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

I promote my own music under the banner ‘Individual Recordings’.

I have chosen to describe the music as a kind of dramatic, contemporary orchestral Electronica...that's fairly downtempo.

What is ‘Individual Recordings’ and how did the concept come together?

To be honest, Individual Recordings was born out of dissatisfaction with the commonplace plugging of a particular type of music that appeared happily de-differentiated from the standard - and was certainly not creatively divergent from it.

I thought that I needed to have a go at creating some sort of sound that didn't conform to ‘production house rules’ and that was not particularly concerned with popular expectations regarding song construction, whilst not completely divorcing any work from the mainstream.

Perhaps, a little strangely, I was inspired by the curiosity that is The Langley Schools Music Project and some rather bare and naive recordings made back in the mid-1970s by a Canadian music teacher and an orchestra of students from various elementary schools of the Langley School District in British Columbia. The recordings were very lo-fi but easily found an audience by offering arrangements of a bold selection of classic songs that were interestingly re-contextualised by the simplicity and honesty to be found in the orchestra's recorded performance.

People found that they could relate to the work; an expression of emotion communicated through music that had an unrefined nature and that revealed essentially flawed mechanics. It was music divested of any pretence to be anything other than a sonic capture of the moment; honest and real.

Yep…that's what I wanted to create.

There is a cinematic aspect to the work. How do those sounds come together and form?

Sound can be manipulated in any way these days.

I start with a theme or motif and, then, experimenting with instrumentation, work it in ‘off-centre’ directions  hoping that the result will provide some sort of emotional impact. Generally, I find I end up with some sort of an orchestral core bathed in a constructed ambience...or something like that, anyway.

How did you come to meet Bethany Compson-Bradford? Did her talent and voice add something special to your work, would you say?

Simply, Bethany kindly responded to a ‘shout-out’ for a singer.

She had London West-End stage experience which I thought impressive, and she immediately demonstrated a capacity to alter her vocal style/intensity in precise keeping with my intentions for a song. If the songs that have been recorded meet with a positive response, then it is without doubt largely due to Bethany's vocals: interesting, emotional, beguiling.

I believe an album is out later in the year. What sort of themes and ideas can we expect to find?

Well. It's probably fair enough to say that it will not be hailed as a jolly sing-along experience. They'll be ghost motifs of fragility, underscores expressing unspoken emotion and a tidal rush of orchestral sound. Ultimately, of course, the songs featuring on the album will be whatever people find them to be. I can only hope that a listener finds them engaging, different and deserving of re-play.

When did music come into your life? Were you always drawn more to sounds and composition than conventional choruses?

Probably began to pay attention to music in the mid-teens…

My taste is music has changed over the years. Once, I was easily seduced by guitar-dominant works and found immediate appeal in hook-laden verse/chorus/verse etc. compositions. Whilst I do still enjoy moments of higher-octane/higher-energy music and songs/styles that venture into the anthemic, I have found that, nowadays, I am given to spending more time investigating the way music can convey feeling through generously-detailed and texturally ornate waveforms. I find that, often, the only way to introduce those elements of detail and texture is to visit an idea in an orchestral setting.

Can we see you tour this year? What gigs do you have coming along?

No touring is planned. I'll wait for the demand! (I won't be holding my breath).

How does an Individual Records performance sound? Is it easy translating the songs onto the stage?

The Individual Recordings sound was designed without any consideration being made of later live performance. Recordings were split between venues/studios and the resulting recording stems combined at leisure elsewhere.

Actually, on reflection, this might turn out to be a good thing as it would mean that, ‘on stage’; with parts re-worked with new instruments, the songs would take on a fresh character.

That sounds exciting!

What do you hope to achieve in 2018?

Some recognition that the music exists…

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

Politely telling someone playing the euphonium to be quiet.

Which three albums mean the most to you, would you say?

Almost impossible to answer: I could give the title of three albums but, if you asked again in another year or two, I wouldn't give the same answer.

What advice would you give to new artists coming through?

Always think about what you could change regarding what you’re producing to better bring originality and individuality to the mix.

IMAGE CREDIT: Half Formed Things

Are there any new artists you recommend we check out?

I would like to recommend Half Formed Things from Edinburgh.

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

If ‘chilling’ is getting excited by sports events, then, yes, by doing that. Unwinding is probably best achieved by spending time doing stuff in the garden (obviously, not when it's raining)

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'd like to just mix it up a bit and select a piece of music from Gattaca: Original Motion Picture Soundtrack (1997). Is that okay? The track is The Departure.

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Follow Individual Recordings

Official:

http://www.individualrecordings.co.uk/

Twitter:

https://twitter.com/kindofcinematic

SoundCloud:

https://soundcloud.com/individualrecordings

INTERVIEW: Jordan Mackampa

INTERVIEW:

PHOTO CREDIT: Sequoia Ziff 

Jordan Mackampa

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HIS latest single is an awesome and powerful…

burst of Soul that gets into the mind and lifts the spirit. Jordan Mackampa talks to me about One in the Same and the story behind it. The talented musician discusses his Congolese roots and when music came into his life; whether more material will come along the line – he recommends new musicians we should follow.

Mackampa talks about growing up in the Midlands and what sort of gigs are coming up; what it was like working with Benjamin Francis Leftwich; how he spends his time away from music; three albums that mean a lot to him – he offers some good advice for songwriters coming through.

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

Hello. I’m well, thanks. Feeling a little bit under weather, but I’ll bounce back soon.

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

I would describe myself as a singer-songwriter who blends just the right amount of modern Folk and classic Soul and Blues.

One in the Same is your new track. Can you talk about its origins and backstory?

The song originally started with me messing around with some open tunings on my guitar, until I landed in a key that felt comfortable in. Skip past the hours of meaningless fondling and I had some sections down which could be interpreted as press, choruses; breakdowns etc., but I knew I definitely had the first verse cemented, which I then sent over in a voice note via email to Matt and Ben before our session the following day.

The song is basically about modern day communication and how we take for granted how easily we can text, FaceTime or even call a friend/loved one, which I believe has affected the way we talk to one another - there is a lot to be misunderstood through a phone call and there’s even more than can be misinterpreted through a lack of human interaction. We are all connected electronically, yet distant from each other somewhat physically and emotionally.

What was it like working alongside Benjamin Francis Leftwich and Matt Ingram writing this song?

I’ve known and worked with Matt quite extensively over the past three or so years: he played the drums on my first E.P., Physics; co-wrote Teardrops in a Hurricane on my second E.P., Tales from the Broken, which he also produced and we’ve just maintained a great working relationship and friendship since. Getting to write with B.F.L. was a dream. I’ve been a fan of his work since the early days and first met him at Barn on the Farm last year. We did that typical music industry of saying ‘let’s work together, let’s write something etc. etc.’ - but this time actually followed through with it and produced something I’m incredibly proud of.

Then, all we needed was Cam Blackwood to add his magic touches to it and we were good to go…

Is there more material coming later in the year?

Absolutely. The music I’ll be releasing now reflects the direction I want to take within my career: not just writing music for the sake of it, but giving the music some substance...about daily things we all good through, whether they are good or bad.

Give me a sense of the artists you grew up listening to. When did music come into your life?

Music has been in my life from a very young age: my mum has always said I was singing before I could talk! She told me a story once of how we were at my uncle’s house back in D.R. Congo. He used to hand-make guitars from the trees in his back garden and sold them to customers in his stall. One evening, we were sat in his living room. I must have been very young at the time, nine, maybe ten months, but I crawled over to one of his guitars and plucked a string with such a force and just turned around to my mum with a look of amazement on my face like I’d discovered the secret to life. My uncle said to her: “He’s found his calling” - and I think it was at that point my mum knew I was going to end up doing something with music sooner or later.

Because of my Congolese roots, I grew up listening to traditional music from my country a lot. It was constantly played in the house, especially on Sundays when we had to clean. As I got older, particularly during my teen years, I developed my own taste of what I liked, which is how I stumbled across Folk music and these extraordinary writers like Bob Dylan, Neil Young; Joni Mitchell - writers of whom didn’t need much more than a guitar and an audience to tell a story that could capture hearts and minds within a few words.

How important was your mother and her love of Soul to your roots and development?

My mother’s taste in music definitely influenced my sense of rhythm and melody. If it wasn’t for her and her love of divas and groove - from artists such as Whitney Houston, Chaka Khan; Stevie Wonder, Michael Jackson; Bill Withers, James Brown; Diana Ross, Aretha Franklin and so forth - I wouldn’t understand how pitch, tone and key all play such a part in music - in addition to how they play on the listener’s emotions during a song.

You were raised in the Midlands but have Congolese roots. Do you feel you mix these disparate and diverse worlds into your sound?

I guess you could say so. It is not something I pay that much attention to if I’m honest: I just try to write what I know, taking influences from sounds that I like that I feel could work for that particular song…

Can we see you tour this year? What gigs do you have coming along?

I’ve just announced my biggest headline tour to date across the U.K. and E.U. in October as well as a few summer festivals.

What do you hope to achieve in 2018?

I hope to have recorded my first album.

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

One that sticks to mind was my first solo show in Brussels, Belgium. It was one of those shows where I expected no one to come and we ended up filling the room - with lots more people eager to come and waiting on the stairs! I ended up playing for an extra hour than I was supposed to because I was having so much fun - and staying behind just chatting with people saying ‘thank you’.

It made me realise how far music can reach someone and the effect it has on them too.

Which three albums mean the most to you, would you say?

This Is always the hardest question to answer! I can never decide because I don’t have three favourite albums: I have about three-hundred!

An album that definitely means a lot to me, however, would be Every Kingdom by Ben Howard. It really influenced the finger style of picking/plucking that I do now, for sure. Mylo Xyloto by Coldplay because it was the first grown-up show that I had saved up for to see and it has one of my favourite songs on the planet on that album, Us Against the World.

I think my final choice is A Different Kind of Fix by Bombay Bicycle Club. Every song, every word; back to front, I know it all. Listen to it and tell me I’m lying…

What advice would you give to new artists coming through?

Trust your gut. Always. It’s never going to steer you wrong, ever. No matter what your label says, managers say; friends say, fans say…trust your gut. You’re the only person in control of your career and your music.

Trust your gut. Always.

IN THIS PHOTO: Fenne Lily/PHOTO CREDIT: Hollie Fernando Photography

Are there any new artists you recommend we check out?

Fenne Lily, George Ogilvie; Million Miles, Mali Hayes; Oliver Pinder, Luna Delirious and Angelboy + the Halos.

IN THIS PHOTO: Million Miles

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

Face masks, cooking good soul food and listening to lo-fi Jazz music. Keeping it simple is the key to chilling out.

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).

Bill Withers - Use Me Up

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Follow Jordan Mackampa

Official:

https://www.jordanmackampa.com/

Facebook:

https://www.facebook.com/JordanMackampaMusic

Instagram:

https://www.instagram.com/jordanmackampa/

Twitter:

https://twitter.com/JordanMackampa

SoundCloud:

https://soundcloud.com/jordanmackampa

Spotify:

https://open.spotify.com/artist/24WPEGLYPvEsmk4GSDFyST

YouTube:

https://www.youtube.com/channel/UCl6F7LtY4TfByEISmpr25pw

INTERVIEW: JOYYA

INTERVIEW:

JOYYA

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THE awesome duo of JOYYA…

moved from Newcastle to London four years ago and, since then, have been making a name for themselves! In a revealing and open interview; Ben Dancer and David Pullen talk about their musical progression and how their new track, Horizon, came to be.

The guys reveal whether more material is coming up and when they started making music together; what life is like in London right now; if there are upcoming artists we need to seek out; what tour dates are around the corner; what sort of music they are influenced by – the boys each select a song to end the interview with.

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

Hello! We are great, thanks. Although, we are both still recovering from running the Hackney Half Marathon on Sunday, 20th May, which we did to help raise awareness and support for the charity CALM (Campaign Against Living Miserably).

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

We are called JOYYA, a duo consisting of Ben Dancer and David Pullen, and we love writing Electronic-Pop music that genuinely gives us a buzz to play and, hopefully, a buzz to anyone who listens to it.

 

Horizon is your new track. It seems to be a double-edged love letter. What sparked the moment the song was written?

In 2014, we both moved down to London from Newcastle and our latest song, Horizon, encapsulates the rollercoaster of emotions we both felt during the move. It was a huge jump for us both and the song definitely draws upon our anxiety, excitement and determination.

What is it like being in the city right now? As musicians; are there more advantages than disadvantages?

On balance, London is amazing - there really isn’t a city quite like it. It’s only when you get here that you really start to appreciate the sheer size of it and how much amazing music is being made here.

How did JOYYA get together? When did you start making music with each other?

We’ve actually been making music together for over ten years now, although this has been through a couple of different projects. When we both moved to London, we started meeting up just to keep playing more than anything and very quickly found ourselves writing new songs that felt incredibly exciting to play.

Therefore, we quickly decided to get our new material recorded and out there…

Is there more material coming from you guys in the coming months?

There certainly is! We’ve written so many new songs now, about half of which we’ve recorded and started mixing. We’re just keen to get them finished and out there for people to hear!

Who would you each count as influences? Did you grow up around a lot of different sounds?

As it happens, both of our dads play in Classic-Rock and Punk cover bands so, from a very early age, we’ve both been immersed in the classic sounds of The Clash through to The Who. I wouldn’t say these influences come through in our music too much, but it does mean we both seem to like very similar musical styles and sounds - which work really well when we write new music together.

Where are you heading on tour? Where can we catch you?

Our very next live show will be in Newcastle on 9th June at Evolution Emerging and we are very excited to be opening up the BBC Introducing stage. After that, we have a couple of London shows pencilled in but we are waiting to get these all confirmed up before we announce them, so keep an eye out as we have much more to follow.

If we come and see you play; what can we expect in terms of the material played and set-up?

Between the two of us, we try and play every instrument and every part between us. It makes for a more challenging performance but keeps it as live and as energetic as possible. We also always try and squeeze in as many songs as possible whenever we play, as we love playing our songs and trying to cut songs out of a set always feels like trying to pick your favourite child...if we had children that is...

What do you hope to achieve in 2018?

We have lots of exciting things planned for the rest of 2018 but, overall, the main aim is to keep building our momentum through releasing more songs and playing as many more shows as possible.

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

This is a tough one...

Ben’s is when we had the opportunity to perform on the BBC Introducing stage at Glastonbury in 2011 and our first real taste of what it could be like if we kept working hard towards our dream.

David’s is when we recently supported Fickle Friends at the Riverside in Newcastle, as we are big fans of their music and have supported and watched them over the last couple of years - so it was amazing to get to play with them.

If you could support any musician alive today, and choose your own rider, what would that entail?

I think this would have to be HONNE - one of our favourite bands at the moment. The rider wouldn’t be too exotic...just some beers and maybe some scran, too, would be a bonus. 

What advice would you give to new artists coming through?

The main thing would be to believe in yourself and believe in the music you’re making. If you love what you’re doing, the chances are somebody else out there will love it too. 

IN THIS PHOTO: Cape Cub

Are there any new artists you recommend we check out?

We could give you a list longer than our arm...

But, if we had to pick one, we’d definitely say Cape Cub. Such beautiful music - and also incredibly nice lads, too.

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

For both of us, music is our main way of unwinding from our everyday lives as we both also have pretty intense London jobs during the week. However, when we take a break from music as well, this typically involves going away with our girlfriends to somewhere quiet, away from the city.

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).

Ben: HONNE – Sometimes

David: Reno & Rome - Our Love

Thank you so much for the interview!

Speak soon,

David & Ben

(JOYYA)

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Follow JOYYA

Official:

http://thisisjoyya.com/

Facebook:

https://www.facebook.com/thisisjoyya

Instagram:

https://www.instagram.com/thisisjoyya/

Twitter:

https://twitter.com/thisisjoyya

SoundCloud:

https://soundcloud.com/thisisjoyya

Spotify:

https://open.spotify.com/artist/3tbNz9tZJWyHm8221xs3I5

YouTube:

https://www.youtube.com/channel/UCwNCY-7wWS_fq_W87aOanqQ

FEATURE: Charles Darwin’s Final Diary Entry: Damon Albarn: The Ever-Evolving Icon

FEATURE:

 

Charles Darwin’s Final Diary Entry

Damon Albarn: The Ever-Evolving Icon

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WHETHER he is working in Mali…

or performing music with The Orchestra of Syrian Musicians; there is no denying the curiosity and worldliness of Damon Albarn is endless! I remember encountering (through the speakers) the Blur frontman when the band’s first album, Leisure, came out in 1991. That record, whilst not universally well-received and adored, did show the songwriter has a unique edge and an immediate talent. In terms of Blur lineage; one can see the music develop and become more ambitious. From Parklife (1994) and its commentaries on everyday life and ordinary people, through to the more American sounds-driven eponymous album (1997); the diverse and variegated/Morrocan-influenced sounds of Think Tank (2003) – Albarn has been at the centre and orchestrated the band’s finest moments. As a lyricist, he can switch from that keen observer and working-class poet who beautifully articulates Britishness and conversations that happen over garden fences. He can score sweeping and affecting songs (This Is a Low, Parklife) or straight-up Punk punches (Chinese Bombs, Blur). If the band are past their best days, or on a long hiatus, you cannot deny the legacy he left. Whether tussling with the Gallagher brothers in the 1990s – in print form, rather than physical – when Britain’s two biggest bands were vying for regency and respect; making some of the best music of the 1990s or amazing critics with his versatility – nobody can talent the innate and peerless talent of Albarn!

One of the reasons I am so blown away by Damon Albarn is his endless capacity for creativity and passion. He recently conducted an interview with Matt Everitt and was subjected to some good-natured ribbing. More than one source has playfully teased Albarn about his astonishing work-rate: the fact musicians feel bad in comparison and are made to look bad! Albarn retorted with humility and explained how he is only in the studio Monday-through-Friday and works normal office hours. The man spends his weekends doing what he wants and does not slavishly spend time in the studio when there is no need. That, if anything, makes the productivity all the more extraordinary and impressive! I guess the disciplined routine and lack of burn-out means Albarn has the energy to do what he wants and produce stunning work. Blur’s debut album was released in 1991 and, since then, there has barely been a year when the songwriter has been dormant. You can hear that inquisitive and busy mind literally going all around the world and picking up new sounds. He has worked with Syrian musicians and spent a lot of time in Africa. He has assimilated Asian elements into music and explored the very marrow of Britishness. Just shy of a South American odyssey or some Australian magic; Albarn has conquered every continent and collaborated with a host of musicians.

PHOTO CREDIT: Aaron Richter

Blur’s work has inspired countless bands and defined why British music, in the 1990s, was so revered and respected. As a solo artist, he released his debut in 2014 and gained a lot of love from critics. It is amazing when you realise Albarn is part of four different music outlets. He works on solo stuff and Blur’s material; he is part of The Good, The Bad & The Queen and is one of the animated figures from Gorillaz. Albarn worked with African musicians back in 2013 (the album, Maison Des Jeunes, was part of the Africa Express project) and has recorded on various soundtracks, too. He composed the music for the 2015 musical, Wonder.land – an Alice in Wonderland-style project - and continues to work endlessly. He revealed to Everitt, during their talk, there will be another record from The Good, The Bad & The Queen; a further Gorillaz album, The Now Now, and, who knows...maybe another Albarn solo album?! I am not sure whether Blur can follow 2015’s The Magic Whip but who knows when it comes to Damon Albarn – a new record might already be in the can! Jack White, in his career, has worked in four different guises – a solo artist, one-half of The White Stripes; The Raconteurs and The Dead Weather – and recorded slightly less music than Albarn. Both are tremendous innovators and, if you had to look at pure quality and who has made the biggest impact on music…you’d have to give the edge to Albarn.

There are a few other musicians who shift between projects but few have the chameleon-like skill of Albarn and take from such a wide and broad palette. I love the sonic shifts and beautiful moments on Think Tank; I admire Albarn’s hook-up with The Orchestra of Syrian Musicians; his early work amazed the senses and now, at fifty, it seems a perfect time to commend the songwriter and see how far he has come. I can honestly see him recording music into his eighties! The man loves what he does and is always at the forefront of the musical consciousness. Recently, he revealed he turned down a collaboration with Prince (he wasn’t allowed to smoke in the studio - the nerve!) and reacted to Arctic Monkeys’ latest record; he has opinions regarding Brexit and was keen to offer his thoughts on the royal wedding – he is an everyman who understands what is best for the nation and has that political heartbeat. Albarn is a humanitarian and someone who wants what is best for the world. This year will see more material from Albarn and lots of new, exciting offerings. He has, with a sly wink, promised next year will be quieter and he may only release the one album – such a lazy bastard! In addition to passing fifty and gearing up for the next phase in his career; the reason I wanted to highlight Damon Albarn is how he approaches music and the variation he offers.

PHOTO CREDIT: Nathaniel Welch/NY Times/Redux

There have been interviews where that question has been raised: Will Blur record another album?! Albarn knows there are three other people to consider when it comes to studio time – he is easy-going and can make a Blur album when he wishes. I have respected and followed the work of Damon Albarn since Blur’s first single and, being fifteen years younger than him, do not feel that different to him. Albarn has a few more grey hairs but, in essence, has no plans to slow down. It is his infectious desire to convey himself through music that gets to me. So many modern musicians get trapped in a rut and can get rather downtrodden. The industry is hard and people putting in insane hours! Maybe Albarn, if he was coming into music now, would face the same hurdles as everyone else. It might not be easy to stick to a five-day week and have that sort of casual attitude to recording. I think Albarn’s endeavour and versatility should give guidance to people out there. When artists collaborate, it tends to be quite limited and, if they stretch their compositional wings, it is never as far-reaching and fascinating as it could be! Again, maybe Albarn has that cache and access to resources newer musicians do not. I feel it is the way he (Albarn) approaches music and thinks about the world that should be taken to heart.

He is a composer whose ear is to the ground and keen to expose those artists that do not get the credit they deserve. Working with a Syrian orchestra, in these charged times, could have been seen as a bold and risky manoeuvre. To Damon Albarn, it was part of his job and nothing was going to stop him! To me, the Londoner has not changed his perspective on the world and let fame change him at all. Many of Albarn’s peers have lost sight of where they came from and why they got into music to begin with. Excess, wealth and popularity go to their head and they start to lose what made them special. Even if he is not as floppy-haired and youthful as the man who sung She’s So High (Leisure, 1991); there is evidence to suggest the maestro has many more years left in him. From a Bugman to the leader of Gorillaz – the man is constantly evolving, growing and changing musical forms. Not everything he has touched is golden – one or two so-so Blur albums; Gorillaz have had some average reviews along the way – but even a semi-promising Damon Albarn creation is far stronger than most of the music out there! Like the aforementioned Jack White, it is that unwillingness to disconnect from music and be ‘ordinary’ that drives the genius forward. Not willing to stick with one style and voice; switching faces and getting involved with music’s full spectrum means the creative juices keep flowing and the possibilities are endless.

Maybe we will see a Damon Albarn novel or short film along the way; there could be another solo record or he might go back into musical/theastre territory – an operatic piece or a commentary on modern Britain. It seems, in 2018, we are crying out for the sort of Blur observations that slayed critics back in the 1990s. We have few songwriters who can represent the voice of the average citizen with such wit, intelligence and pathos. Albarn is an evergreen influencer whose energy and talent is stunning to say the very least. Maybe his claims of a five-day studio lifestyle are true – I suspect he nips in there at the weekends occasionally – and he gets plenty of time to blow off steam. We have seen various lifecycles and reformations come from Damon Albarn. Even at the age of fifty, one suspects there will be more extraordinary records and movements from a musician who barely seems to tire and age! Keep your eyes out for new material from Gorillaz, The Good, The Bad & The Queen and, I believe, Africa Express. You never know what the man is up to and what an album of his will possess. It may have a vivacious and shimmering electronic fizz or some African-tinged orchestrations; it might be a guitar-laced rave-up or an acoustic number that looks at our interaction with machinery. Albarn’s mind is always working and the breadth of work he has given us is nothing short of phenomenal. So many of his contemporaries have faded and dropped off the radar but, if anything, Albarn is more focused and driven than ever. At a time when we need leaders to come through and inspire the new generation; witnessing Damon Albarn plot, plan and tease is…

PHOTO CREDIT: Gilbert Blecken (1993)

SUCH a wonderful thing to see.  

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ALL PHOTOS (unless credited otherwise): Getty Images

INTERVIEW: Between Giants

INTERVIEW:

Between Giants

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I am ending my interviewing weekend…

with a look at the new music of Between Giants. It is the moniker of Tyler John and I was eager to speak with the Florida-based musician about the new single, Nevemind – he explains how Between Giants came to be and what the project represents.

Between Giants explains hooking up with Kalimur and how music came into his life; whether there are tour dates coming up; if there are any things to tick off a list before the end of this year; some new artists that we need to be aware of – the songwriter ends the interview by selecting a rather nice song.

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

Yo! I am terrible - and this has been the worst week of my entire life. I wonder if anyone has actually said that on here. I’m messing. I am fantastic! Every day I am here is a good one.

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

Absolutely. My name is Tyler John and I am ‘Between Giants’. The sound behind the project utilises many different genres and instruments and brings them together into a coalescence of gritty Electro-Indie-Pop. Keeping fee good vibes with a bite that forces you to really listen…

How did ‘Between Giants’ start life? How did you come up with that name?

Inspiration for the name hit when I was downtown in my city of Orlando and saw a painting of a man lost in the forest. The project began when I felt the need to write and sing my own songs.

Nevermind is the last single from your upcoming album. Is there a story behind the song?

Absolutely. I often have difficulty articulating my emotions for fear of being vulnerable to people. It is a serious problem! Nevermind is essentially my ode to that, pushing people away because it is easier than opening myself up but still yearning to express myself. A walking contradiction, really. The chorus refrain summarizes it well: “By the way, I more than love you – nevermind”.

The band, Kalimur, feature on the track. How did you come to meet them? What was that experience like?

Kalimur was actually a band that I created with my best friend Brett. We started it up years ago and saw great success – eventually, it was time to go our own ways creatively and it was amazing to be able to collaborate with him again through a collective vision.

He adds so much to any creative setting and made the process beyond-amazing. An extreme talent in all aspects of music and an even better human being.

Talk to me about the album and what we will expect in terms of themes and stories.

Thematically, really it all boils down to love, all aspects of it, good and bad; the beauty, the pain and the madness.

How did music come into your life? Did you grow up in a musical household?

Yes! My mother is an artist and always had me involved in some sort of creative field (since I was very young). My father is a world-renowned shower singer as well - so take that for what it’s worth.

Are there any tour dates coming up?

Lining it up as we speak! Check back in a bit for sure and make sure to come out! I love meeting new people and hearing your stories.

What do you hope to achieve in 2018?

There is this new taco place I really want to try…as for the project; I want people to dig the album and also to go on another East Coast tour!

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

Returning to the town I went to college and high-school in on tour and playing the venue I used to go to see shows at. That was a major nostalgia trip, let me tell you. I felt so out of place playing there but, hopefully, I didn’t suck too bad.

Which three albums mean the most to you, would you say?

The Cars, Badlands and A Fever You Can’t Sweat Out.

What advice would you give to new artists coming through?

Never stop, create genuinely and explore.

IMAGE CREDIT: @efekurnaz 

Are there any new artists you recommend we check out?

Definitely check out Kalimur (featured on the track). They just released a new single and have some amazing music. Brandyn Burnette is another artist that is killing the game. The Merks also have a unique sound.

IN THIS PHOTO: Brandyn Burnette

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

Almost none. Between full-time school, work and volunteering, almost all my free time is spent writing, producing or playing shows. Music is my escape, though, so it’s okay that the grind never really slows. As long as I am surrounded by good people, I am always at peace.

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).

Bump that new Kalimur song! (I Will Follow). Thanks for having me.

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Follow Between Giants

Facebook:

https://www.facebook.com/BetweenGiantsFL/

Twitter:

https://twitter.com/betweengiantsfl

SoundCloud:

https://soundcloud.com/betweengiantsofficial

Spotify:

https://open.spotify.com/artist/7BBAmjlRZDHAN8GOhRTQ6K?si=BzbqLo53S9CPQsqQ_stegw

Instagram:

https://www.instagram.com/betweengiantsofficial/

FEATURE: The Musical Big Bang: Why John Lennon and Paul McCartney’s First Meeting Is the Most Important Moment in Music

FEATURE:

 

The Musical Big Bang

IN THIS PHOTO: John Lennon with The Quarry Men (1957)/ALL PHOTOS (unless credited otherwise): Getty Images/Press 

Why John Lennon and Paul McCartney’s First Meeting Is the Most Important Moment in Music

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YOU will have to forgive the lack of original imagery…

because, back in 1957, there were few snaps of Paul McCartney and John Lennon! It may not be timely or celebrating an anniversary, but I wanted to look at a moment, I feel, is the most important in all of music. We can argue when music changed forever and what the most important moment is. Some see the explosion of Blues as revolutionary; the 1960s and the wave of fantastic bands that came through – some see more modern innovations and breakthroughs as more vital. I look at the album cover of Please Please Me (The Beatles’ debut) and that famous shot of the quartet looking at the camera from a balcony – from the stairwell of EMI’s base in London. They are all smiles: the excitement of launching their first L.P. and delivering it to the world. That album came out in 1963 and, thinking back; how did the greatest band who ever live come together? Many might say it is when the foursome was complete – after Pete Best departed and the classic line-up gelled – or when the debut album came out. To me, The Beatles’ beginning was back in 1957 when John Lennon met Paul McCartney for the first time. On 6th July, if you are not familiar with the details; this is how the 1960s’ best songwriting duo got together:

“In the afternoon the Quarrymen skiffle group played at the garden fete of St Peter's Church, Woolton, Liverpool. The performance took place on a stage in a field behind the church. In the band were Lennon (vocals, guitar), Eric Griffiths (guitar), Colin Hanton (drums), Rod Davies (banjo), Pete Shotton (washboard) and Len Garry (tea chest bass).

The group arrived on the back of a lorry. As well as music, there were craft and cake stalls, games of hoop-la, police dog demonstrations and the traditional crowning of the Rose Queen. The fete was a highlight of the year for the residents of the sleepy Liverpool district.

The entertainment began at two p.m. with the opening procession, which entailed one or two wonderfully festooned lorries crawling at a snail's pace through the village on their ceremonious way to the Church field. The first lorry carried the Rose Queen, seated on her throne, surrounded by her retinue, all dressed in pink and white satin, sporting long ribbons and hand-made roses in their hair. These girls had been chosen from the Sunday school groups, on the basis of age and good behaviour.

The following lorry carried various entertainers, including the Quarry Men. The boys were up there on the back of the moving lorry trying to stay upright and play their instruments at the same time. John gave up battling with balance and sat with his legs hanging over the edge, playing his guitar and singing. He continued all through the slow, slow journey as the lorry puttered its way along. Jackie and I leaped alongside the lorry, with our mother laughing and waving at John, making him laugh. He seemed to be the only one who was really trying to play and we were really trying to put him off! - Julia Baird, Imagine This

“That evening the group were due to play again, minus Colin Hanton, this time at the Grand Dance in the church hall on the other side of the road. They were due on stage at 8pm, and admission to the show, in which the Quarrymen alternated on stage with the George Edwards Band, was two shillings.

While setting up their equipment to play, the Quarrymen's sometime tea-chest bass player, Ivan Vaughan, introduced the band to one of his classmates from Liverpool Institute, the 15-year-old Paul McCartney.

 IN THIS PHOTO: John Lennon and Paul McCartney (circa 1962/1963)/PHOTO CREDIT: Pinterest/Press

This historic occasion was the first time McCartney met John Lennon, one year his senior. McCartney wore a white jacket with silver flecks, and a pair of black drainpipe trousers.

The pair chatted for a few minutes, and McCartney showed Lennon how to tune a guitar – the instruments owned by Lennon and Griffiths were in G banjo tuning. McCartney then sang Eddie Cochran's Twenty Flight Rock and Gene Vincent's Be-Bop-A-Lula, along with a medley of songs by Little Richard.

I remember coming into the fete and seeing all the sideshows. And also hearing all this great music wafting in from this little Tannoy system. It was John and the band.

I remember I was amazed and thought, 'Oh great', because I was obviously into the music. I remember John singing a song called Come Go With Me. He'd heard it on the radio. He didn't really know the verses, but he knew the chorus. The rest he just made up himself.

I just thought, 'Well, he looks good, he's singing well and he seems like a great lead singer to me.' Of course, he had his glasses off, so he really looked suave. I remember John was good. He was really the only outstanding member, all the rest kind of slipped away” - Paul McCartney, 1995, Record Collector

“Lennon was equally impressed with McCartney, who showed natural talent for singing songs that the Quarrymen worked hard to accomplish. McCartney also recalled performing on the church hall piano”

“I also knocked around on the backstage piano and that would have been A Whole Lot Of Shakin' by Jerry Lee. That's when I remember John leaning over, contributing a deft right hand in the upper octaves and surprising me with his beery breath. It's not that I was shocked, it's just that I remember this particular detail” - Paul McCartney
John Lennon, Philip Norman

That is a lot of cribbing from the history books – the actual smells and sights might be clearer to Paul McCartney. It seems strange to think that the then-teenagers would start The Beatles and, eight years from their first encounter, they’d record the debut album! It may sound like a long time considering The Beatles’ commercial career lasted about the same length of time. I feel the birth of modern music began when The Beatles’ lead songwriters found one another. If McCartney and Lennon had not met back in 1957 at that modest fete; they might never have ever met – would we have seen the band form at all or would each member record solo?! McCartney was, at that time, a superior musician to Lennon and taught the young Liverpudlian new skills and songs. McCartney’s repertoire and natural skill impressed Lennon. There were amazement and mutual affection between the songwriters during The Beatles’ regency – it sort of died down after the first few years of their career. The teenage eye-opening and discovery drove both of them to dive into music an open their horizons. We can trace music way back hundreds of years and say the likes of Elvis Presley and Buddy Holly pushed music to the masses.

IN THIS PHOTO: St Peter's Church, Woolton

Everyone has their own opinion as to when the music universe was created. I think the fateful and charming meeting of Paul McCartney and John Lennon started everything. One can smell the cigarettes being dragged and the boys hanging out and sneaking a crafty drink here and there. I guess the 1957 performance by The Quarry Men did not set Woolton alive back then – it did usher in John Lennon as a local fixture and someone who was a cut above his peers. I am not sure how much musical experience McCartney had at the time but it is clear he drooled over records and practiced playing as much as he could. Even though McCartney played bass for The Beatles; he had serious guitar skills from the start and, as I said, was teaching John Lennon a few tricks. The clear affection and respect between the schoolboys meant working together was inevitable. The reason I am writing about The Beatles, now, is a feature that ran on Yoko Ono as she spoke with The Guardian. She was looking back at her life with John Lennon and returning to Liverpool for her Double Fantasy exhibition. The life of The Beatles began way back in 1957 but, with Yoko Ono, Paul McCartney and Ringo Starr still alive and well; there are many more years of stories and memories.

IN THIS PHOTO: Paul McCartney and John Lennon performing with The Quarry Men

It is strange thinking about the first conversation between a young Lennon and McCartney. It is inevitable Lennon would have had that confidence and been curious about this new star. I guess there would have been jokes but a bit of mutual jealousy, too. How, then, did McCartney come to join Lennon’s band and start playing – the previously-quoted article takes up the story:

“…After the Quarrymen's show the group, along with Ivan Vaughan and McCartney, went to a Woolton pub where they lied about their ages to get served.

Later on, Lennon and Pete Shotton discussed the young McCartney, and whether to invite him to join their group. For Lennon it was a dilemma – should he admit a talented member who may pose a challenge to his own superiority within the group, or should he persist without McCartney, retaining his leadership yet likely consigning the group to failure?

They decided McCartney would be an asset, and roughly two weeks later Shotton encountered McCartney cycling through Woolton. Paul mulled over the invitation to join, and eventually agreed to join the Quarrymen's ranks”.

After joining The Quarry Men; things broke down in the band and, eventually, they mutated into The Beatles. You can picture those early Quarrymen sets with Lennon and McCartney together; both learning from one another and performing a range of cover songs. Although The Quarry Men are still playing; it is the way Lennon and McCartney developed and grew after that time that fascinates me. Their bond and talent outshone everything else and the closeness they shared led to the most successful songwriting partnership in popular music.

IN THIS PHOTO: The Beatles (circa 1960)

It is debatable the Liverpool legends would have met under other circumstances but does that July day back in 1957 hold an energy and opportunity other times would not have? What I mean is, if they had met a year later in another part of the country; would they have discussed music and playing together – or would it have been a fruitless endeavour? I feel the fact Lennon was playing in Woolton with The Quarry Men and playing Skiffle, on the day he met McCartney, made the difference. Today, we hear about musicians meeting online or at some huge festival. The fact the future-stadium-fillers met at a rather small and, I assume, boring fete makes the tale all the more wonderful and unexpected. John Lennon and Paul McCartney would form The Beatles in 1960: a few short years after the boys joined forces and bounced off one another. I love The Beatles’ early period and the work they produced between 1962 and 1965. I feel that was them at their most free and exciting; before they went psychedelic and pushed the studio to the very limits. Without that meeting and genius songwriters discovering one another; I argue whether The Beatles would ever have come to be. The Beatles and always will be the most important and biggest band in the world. They have inspired more musicians than anyone else – tracing the beginning of The Beatles is when we can see the birth of popular music. There were some great artists in the 1950s but it was The Beatles’ explosion and evolution that changed the world. It has been nearly sixty-one years (amazingly!) since Lennon and McCartney met and had that incredible first conversation. Their foundation might have been modest but, unbeknownst to them, that 1957 seduction would lead to a band…

IN THIS PHOTO: The Beatles (circa 1963)

THAT changed music forever.  

INTERVIEW: Blackjack Love

INTERVIEW:

Blackjack Love

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AZZA is the man behind 'Blackjack Love'…

and I was eager, before I talked about his new music, to learn whether there is a story behind the moniker. The songwriter tells me about his new track, Carryin’ On (Rockin’ and Rollin’), and what it was like working with Jon Astley on his amazing album, Bullets & Blues.

I discover the musicians that influence Blackjack Love and when music came into his life; what he hopes to accomplish before this year is through; his favourite memories from his time in music – he provides some pithy and useful advice for upcoming artists.

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

Yea. Alright, thanks. You? It's been ok. The weather was a bit moody but now the sun is shining, on the righteous, right?

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

I'm Azza; a songwriter/producer/guitarist from Woking.

How did the idea of ‘Blackjack Love’ come to be? What inspired the name?

The idea came from a little E.P. I'd recorded along with (playing some) open mic nights around L.A. and Joshua Tree. The name, on the other hand, came from a racehorse. Haha.

Carryin’ On (Rockin’ and Rollin’) is your new single. How did the song come together? Is there a story behind it?

Well. The whole album is loosely a concept album, set in old times; a Wild West kinda thing. So, the song is a piece of that puzzle. We'd recorded the song and I always had it planned that there would be some piano in it, leading the track. So, we called in an amazing player called Olly Wedgewood to lay several parts down and we cut it up into what it is now.

Bullets & Blues, your debut album, has Jon Astley mastering. What was it like writing and recording the record? What was it like working with Astley?

Writing the record took some time, but only because I had started to record one song, then started mixing it; then I thought that I'd write an album! So, once that was the case, the rest was written in a few months. The song was done in 2015, then I probably ummed and ahhd for a while. Haha. We recorded most of it in a pool room! Some of the reverbs are actually from the room itself! The vocals for Won't You Give It? were recorded at Studio City Sound in L.A., which was cool.

Jon Astley is one of the coolest, nicest guys I've ever met and he did a top, top job on this album.

How did you come to meet your manager – The Jam’s former drummer, Rick Buckler?

I honestly can't remember! I think someone got him to see my old band at a gig, then he put on a gig for another artist he was managing and my old band played. (Or it might have Guilfest; I'm not too sure). So, that's how he became our old manager. That band split a while ago but we remained friends, which is cool.

When did music come into your life? Were there particular artists that influenced you?

I think music has always been in my life - before I could even play an instrument! My uncle had a wide musical taste and would always have music on in his car, or would buy me C.D.s. Yeah. Noel Gallagher, Josh Homme; Jimi Hendrix, Marvin Gaye and HDH. There are loads.

Can we see you tour this year? What gigs do you have coming along?

As of yet, no tour; just starting to sort gigs out so nothing concrete yet - but when there is, all the info will be on Facebook etc.

If we came and saw you play; what would the live show consist in terms of material and feel?

Material from the album: some new, some old. Maybe, I’ll throw in a surprise cover somewhere. Straight-up Rock 'n' Roll, baby.

What do you hope to achieve in 2018?

Decent fans, decent album sales and decent shows. Oh, and world domination, of course. Haha.

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

Playing the Indigo at The 02 and supporting Stiff Little Fingers was cool. The best, probably, was recording in Manchester once and going on the sauce with Frank Harper. Haha!

Which three albums mean the most to you, would you say?

Oasis – (What's The Story) Morning Glory?

My all-time favourite.

Marvin Gaye – What's Going On?

So cool. He's saying a message. It was his kinda growth from a sex symbol to a man with a voice/message.

Nirvana – Nevermind

It made me wanna play the guitar.

What advice would you give to new artists coming through?

If it sounds sh*t, it probably is sh*t…so start again. Do what you wanna do and don't lose sight.

IN THIS PHOTO: Déjà Vega

Are there any new artists you recommend we check out?

Déjà Vega, Birdsworth and Coco La Funk.

IN THIS PHOTO: Birdsworth

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

Yeah and no. I get time away from the studio, but the music never stops. I don't know how to unwin. Haha.

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).

Inner City Blues (Make Me Wanna Holler) – Marvin Gaye

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Follow Blackjack Love

Facebook:

https://www.facebook.com/BlackJacklove/

Twitter:

https://twitter.com/BJLMusic

SoundCloud:

https://soundcloud.com/blackjacklove

INTERVIEW: Paige Bea

INTERVIEW:

Paige Bea

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SITUATED in the suburbs of South London…

Paige Bea has been talking to me about the scene where she is and what inspired her latest single, Your Echo. The promising songwriter tells me what it was like being recognised by BBC Radio 1Xtra and where she heads in terms of gigs and material.

I ask her which albums have influenced her most and whether there are new artists we need to keep an eye out for; what advice she would give to artists coming through – Paige Bea reveals a special memory from her time in music.

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

Hey! I’m not too bad. It’s been very busy, thanks!

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

Of course. I’m Paige - Paige Bea, if we’re being formal - and I’m a singer-songwriter from the 'burbs of South London. 

Your Echo is your latest cut. Can you tell me what the tale behind the song is?

Most of my songs are an amalgamation of myriad experiences, as opposed to one specific experience. I think I had the refrain in my head for a long time after getting fed up with someone for not caring enough about our relationship - and the verses just kind of spilled out in the studio. Songs about epic love are in the past: our generation is all about people flaking or ghosting, or thinking people and emotions are disposable. 

Tell me about working in The Premises Studios and working with people like Jonjo Keefe, Teresa Origone and KINDER. How important were they regards your sound on Your Echo?

Oh, it was so great. I’d already worked with Leo (KINDER) kind of since the start of the whole Paige Bea project but I think with Jonjo’s slightly more edgy production style and Teresa’s incredible Jazz keys and synth skills, it just went to the next level. The whole thing was pretty spontaneous and felt natural.

We didn’t really go to the studio that day thinking we’d even make anything start to finish…and we managed to write the next two singles. So, yeah, it was a pretty good day. 

How do you think it builds on Pick Up Your Heart? Are you looking ahead and planning other songs?

It’s an important step for me. I love Pick Up Your Heart; it was one of the first songs I wrote and thought, ok, that’s actually pretty good which is massive for me because, like, ninety-nine percent of creatives, I am my own worst critic. But, Your Echo is closer to where I think I want to be stylistically; I think it pushes towards a more unique sound. 

You have gained support from, among other sources, BBC Radio 1Xtra. How important and encouraging is it getting that backing?

It’s hugely important because, as much as I will always sing and write music for myself no matter what, that kind of support keeps you believing that it’s not unrealistic to think you could pursue it as a full-time career one day, even though the whole thing is definitely baby steps. 

What is the vibe like in South London right now? Is it a great place to make music in?

Yeah. I mean, there’s a crazy-cool Jazz scene going on in South East London, but I’m stuck out in the 'burbs of South West. I think the mundanity of suburbia is interesting in its own right: the routine, the uniformity; the ‘community’ that’s often just façade and I think it’s important for me as an artist to not pretend I’m from a more edgy, urban place because that’s not my background. I think people respond best to art when they can sense it’s completely authentic. 

Have you always had a passion for music? Was there a moment that compelled you to write your own stuff and get into the industry?

Oh, definitely. I used to (just) sing questions at my mum instead of talking when I was a baby and, back when I lived in Camberwell when I was about four years old, I invited our entire neighbourhood to my flamenco show at our house. Luckily for my mum, no-one turned up.

But, I’ve always been very keen to perform for people, that’s for sure. I think, as soon as I graduated, I had that switch flick of being like, ok, I either write songs and pour myself into this one-hundred-and-ten percent or I go do something else.

That was about two years ago…

Can we see you tour this year? What gigs do you have coming along?

I don’t think I’ll be touring yet: I’m still very much in a creative hole just finishing up the E.P. but I want to put on my first headline show at the end of August/start of September. I’ve got a couple of fun support slots coming up. Come along!

What do you hope to achieve in 2018?

I’d like to get to a point where I can see this being a viable full-time career but it’s extremely hard to get that kind of certainty in this kind of industry. So, I think I’d like to play a sold-out headline show, release my E.P. and (just) get more of a catalogue of work on the go. I want to be at the point where I say ‘look at what I’ve done’, not just look at where I’m going to go. 

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

It’s strange. Every new opportunity or good news about my songs I get ends up superseding the last. But, really, for me, my absolute favourite part of the whole process is when I go to the studio with nothing and get into a complete state of creative flow - and just end up writing melodies and lyrics in such a focused and almost subconscious way. You get to the end of the day having created something that didn’t exist before and that other people might enjoy and relate to. That’s, hands down, the best part. 

Which three albums mean the most to you, would you say?

Oh, god; I’m going to say the wrong thing for sure, but here goes…

Joni Mitchell – Blue

For the lyricism, for teaching me that songwriting doesn’t have to follow rules; for the heartbreak and the timelessness. 

Jeff Buckley – Grace

It’s a little clichéd but I’d be lying if I said I didn’t get that C.D. and literally run it into the ground when I was fourteen. I remember sitting so close to my stereo I was almost hugging it - and I’d hang off his every note. 

James Blake – Overgrown

This was the only album I had in my stereo during my second year of uni. I went through a really rough break-up and it became my catharsis. Our Love Comes Back still makes me teary every time. 

What advice would you give to new artists coming through?

If you keep telling people you’re an ‘aspiring artist’ or that you’d ‘like to be an artist’, it’s never going to happen. You have to tell people you are an artist; you just haven’t refined your art or got the break you need yet. You have to be certain that you are an artist to your core and you have to work at it all the time. This industry is not for the fainthearted: it’s a war of attrition. 

IN THIS PHOTO: Bad Honey

Are there any new artists you recommend we check out?

Oh, sooooo many. Check out Bad Honey’s new E.P. It’s soothing and infectious at the same time. Also, look at Sabiyha’s Hollow Bones E.P. – her voice could move mountains.

I’ve also just been listening to this guy called Bakar who has released a mixtape called Badkid – it’s the first music in a while that I’m really struggling to categorise. 

IN THIS PHOTO: Sabiyha

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

Not really! When I’m not in the studio or rehearsing, I’m probably at work or trying to find more work. London life is pretty unforgiving like that. I love to read, though. I’ve just finished reading Donna Tartt’s The Secret History – and I’ve just started Han Kang’s The White Book, which is really moving.

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).

Oh, wow! That’s a tough choice. I’m an incredible indecisive person. I’d make a crap D.J. Let’s go for the song I’m currently blasting out: it’s Night on Earth by Jerkcurb. His stuff is well worth checking out. 

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Follow Paige Bea

Facebook:

https://www.facebook.com/paigebeamusic

Twitter:

https://twitter.com/paigebeamusic

Instagram:

https://www.instagram.com/paigebeamusic/

Spotify:

https://open.spotify.com/artist/13OFf8e9FsAgMtdhivPhTA

YouTube:

https://www.youtube.com/channel/UCEnz1byAQai7dem7oWub14A

SoundCloud:

https://soundcloud.com/paigebeamusic

INTERVIEW: Scott Michael Cavagan

INTERVIEW:

ALL PHOTOS: Brian Nicholson 

Scott Michael Cavagan

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I have enjoyed speaking with Scott Michael Cavagan…

as he tells me about his upcoming album, 21st Century Love. I have been asking about its themes and why he decided to raise funds through a Kickstarter campaign. Cavagan chats about music in the North East of England and the albums/artists that inspire him – he reveals how music came into his life as a youngster.

Cavagan looks ahead to gigs and tells me what he hopes to achieve in 2018; if there are new artists we need to check out; if he gets time to chill outside of his busy music life – he ends the interview by selecting an awesome song.

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

Hello. It’s been a great week, thank you. The sun has been shining, so no complaints...

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

Yes. My name is Scott Cavagan. I am a singer/songwriter from the North East of England and I’ve been in various bands over the years, but I am releasing my debut solo album later this year. My music is a mixture of everything that has influenced me: everything from '80s Pop/Rock to Manic Street Preachers.

Your album, 21st Century Love, is available for pre-order. Can you describe the themes and ideas that inspired the songs?

It’s a collection of songs that I am really proud of; in many ways, it’s a diary of events that have happened over the last few years. There are a number of songs about fame - people’s obsession with it and how people define it. There are a few songs about heartache and loss but it’s an uplifting album no matter what the subject matter was. It was important to me to make a positive album and I think I achieved that.

I believe it was funded through Kickstarter. How does it feel knowing so many people got behind it and wanted to see it happen?

Yeah. I actually had finished recording the album but it took a long time; I worked with people like Baz Warne, John Waugh; Fiona Brice and Jeff Dunn which meant working around the touring schedules of The Stranglers, The 1975; Placebo and Venom Inc. To avoid further delay in putting the record out, I thought the quickest way would be to do a Kickstarter campaign to help mix it. The reaction has been absolutely brilliant I have to say. I was a little dubious about launching it via Kickstarter because you just never know how these things work, but I am really pleased I did.

The best thing about it is I’ve had a lot of nice messages of support and people say they are really looking forward to its release. It’s nice to know there is actually a demand for my music.

Do you have a favourite song from the album that seems to define it?

To be honest, it changes from day to day. I’m fond of all of the songs in different ways. At the moment, I’m really enjoying a song called Hurts, which is the first song on the album, and it’s really up-tempo. It starts off almost like E.D.M. but turns into a brass-led '80s Pop song.

How do you think you have progressed since the 2015 E.P., Neon Lights? Can you see changes coming into your music?

I would love to think my songwriting has progressed and is always progressing. The songs on that E.P. are actually on the album with a number of changes. Writing those songs gave me the confidence to start this solo project some time ago, so I felt it was important to include them on the album and that they deserved a proper release.

When did music come into your life? Do you remember the artists you grew up around?

Well. My mam and dad used to play music all the time was I was younger. I fell in love with The Beatles because my mam would play them a lot; my dad used to play things like The Stranglers and Fleetwood Mac. All of those bands have so many amazing songs - it would have been impossible not to have been influenced by them in some way.

County Durham is where you were raised. Is there an active and growing music scene there, would you say?

There have always been brilliant bands from up here and there are some bands making a lot of noise within the industry at the moment. Whether there is a growing ‘scene’ or not, I’m not really sure. I certainly don’t feel part of a scene if there is one. I’m just enjoying making music.

Can we see you tour this year? What gigs do you have coming along?

I kept my diary free this year to focus on finishing the album but I do have a gig supporting Detroit Social Club in September which should be a great night. My first-ever live gig was supporting David Burn’s (D.S.C. singer) first band and it’ll be pretty much twenty years ago to the day - so I see that night as a bit of a celebration. I’d like to think I’ll play a lot more shows later in the year.

What do you hope to achieve in 2018?

I always wanted to release an album with my previous bands but it never happened for one reason or another, so releasing 21st Century Love will be my proudest musical moment for sure. In terms of the rest of the year, I don’t know. There is still so much I want to achieve musically: in my head, I am still that seventeen-year-old lad who longs to support his favourite band.

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

Ah...there have been loads. I’ve been lucky enough to work with some incredible musicians and play some great shows. Obviously, the solo stuff I’ve done is that extra bit special to me. I think seeing Phillip Schofield sat on a sofa with Holly Willoughby introducing a song of mine on This Morning was one of strangest, yet joyous, moments of my life. 

Which three albums mean the most to you, would you say?

The Beatles – Help!

Just because it reminds me of being young and discovering music. It’s full of great songs; really fantastic melodies and harmonies.

Manic Street Preachers – Gold Against the Soul

This isn’t even my favourite Manic’s album, but this album is important to me because it really turned me onto the band. A fantastic album. Not held in as high regard compared to the rest of their albums but a very good Rock album.

Manic Street Preachers – Lifeblood

This is just a beautiful album. Again, it’s not an album that gets talked about much but it’s glorious. Beautiful vocals from James; brilliant melodies and soundscapes.

What advice would you give to new artists coming through?

I’m not sure I am in any position to give anyone else advice, but I would say just try not to take everything too seriously and enjoy it.

Are there any new artists you recommend we check out?

There is a band called Sick Joy who are from the North East but based in Brighton. They have been around for some time in various forms but they really should huge. Also, I know you have spoken to her before, but RIDER is making some beautiful music at the moment. I can’t wait to hear more from her.

IN THIS PHOTO: RIDER

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

I do. Music is something I do as and when I can, but I love nothing more than spending time with my baby son and my wife.

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).

Future Islands – A Song for Our Grandfathers

_____________

Follow Scott Michael Cavagan

Official:

https://www.musicglue.com/scott-michael-cavagan/

Facebook:

https://www.facebook.com/scottmichaelcavagan

Twitter:

https://twitter.com/cav81

Instagram:

https://www.instagram.com/scottcavagan/

Spotify:

https://open.spotify.com/artist/4jZ4WHxtUGXS5fnGus4V4H

YouTube:

https://www.youtube.com/user/generationterrorist1

SoundCloud:

https://soundcloud.com/visionsofmadness

INTERVIEW: Midnight Shine

INTERVIEW:

PHOTO CREDIT: Sean Sisk

Midnight Shine

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ADRIAN Sutherland of Midnight Shine…

has been talking with me about the band’s new album, High Road. I ask what it was like working with John-Angus MacDonald and Tim Vesely on the record and why the band decided to cover Neil Young’s classic track, Heart of Gold.

Sutherland tells me about gigs and whether the group will come to the U.K.; whether the Canadian band has any plans for the rest of the year; whether Sutherland has time to relax away from music – he recommends a new artist that is worth some time and attention.

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

I’m Adrian Sutherland; frontman of the Roots/Rock band, Midnight Shine.

 

Tell me more about High Road. What sort of themes inspired the music?

Our third album, High Road, was inspired by a number of different themes, mostly the experiences of growing up in the remote community of Attawapiskat in Canada’s North. Some of the experiences were not so good, while others were positive. But, the main theme is resilience: standing up and persevering through hardships and coming out the other end fairly unscathed.

What was it like working with John-Angus MacDonald and Tim Vesely?

It was such an honour to work with producers like John-Angus MacDonald and Tim Vesely. John-Angus was very calm down-to-earth and easy-going and was full of ideas. He’s the kind of person that I would like to learn from and aspire to be like someday. Tim was similar but approached the songs differently. He also has lots of experience producing and was able to capture the feel and magic of the songs he produced.

It was a real pleasure learning from and working with both producers.

The record brings in new musical tastes and elements. Did all these new elements come together naturally? Was it important to push your sound on?

You can say the third album, High Road, is building more on our first album, Midnight Shine, and trying to develop a more mature Roots/Rock sound versus a commercial Pop sound.

For me, it was important to create a sound and lyrical context and themes similar to what I did on the first album for a number of reasons such as wanting to inspire people, finding a place for my emotions and re-directing that energy into something more positive. Overall, it really felt like a healing journey for me. 

 

One of the standouts is a cover of Neil Young’s Heart of Gold. What was the reason for tackling that sound?

We decided to cover Heart of Gold as a sort of a last-minute decision. Neil Young was someone who inspired me many years back to write music of my own. When we were recording Heart of Gold, it didn’t really feel like we were doing anything special at the time. But, we did want to make it unique in a way that set us apart from any other version out there.

After the mixing process was done, it was clear that we had done something pretty cool with this classic song. Neil Young’s publisher gave us permission to make the changes that we did and we are pretty proud of how the final song turned out.  

What sort of artists did you grow up around and are influenced by?

Some of the artists I grew up listening to were Neil Young, Tom Petty; Creedence Clearwater Revival, Nazareth and a few others.

PHOTO CREDIT: Sean Sisk

It seems like you have some great gigs in Canada coming up. Which dates are you looking forward to most?

I would have to say the gig I am most looking forward to is Skookum Festival in Vancouver’s Stanley Park on September 8.

Might you head to the U.K. at some point?

I’m sure someday we will be making the trip over the big pond to do shows. 

What do you hope to achieve in 2018?

In 2018, we hope to make a lot of racket and win over as many people as we can out there - because we believe we are a band with an important purpose.

PHOTO CREDIT: Sean Sisk

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

One of my favourite memories in music was getting to share the stage with Tom Petty at RBC Ottawa Bluesfest in July 2017; definitely one of the biggest highlights of my music career so far. 

What advice would you give to new artists coming through?

The advice I would give to any newcomers would be to build a solid team to help you elevate your music and take it to the next level. This industry is a big machine with lots of moving parts, so any help you can get will go a long way...

IN THIS PHOTO: The Static Shift/PHOTO CREDIT: Joe Miles

Are there any new artists you recommend we check out?

One of the new bands that I really like are called The Static Shift. You should check them out. 

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

I do get time away from music, which is usually time spent with family at home (I have four kids and three grandkids) or out on the land. I spend as much time as I can hunting and fishing - and carrying on our Cree traditions.  

Finally, choose any song you’d like to hear, and I’ll play it here (not any of your music - I will do that).

I’d like to hear Saint Cecilia by the Foo Fighters 

_____________

Follow Midnight Shine

Official:

http://midnightshineonline.com/

Facebook:

https://www.facebook.com/midnightshineonline

Twitter:

https://twitter.com/midnightshineon

Instagram:

https://www.instagram.com/midnightshineonline/

Spotify:

https://open.spotify.com/artist/7pj79EKmLJAAagoOvrgalQ

YouTube:

https://www.youtube.com/channel/UCNvvtsnwSKQvI5nNWAwEd2w

Bandcamp:

https://midnightshine.bandcamp.com/

TRACK REVIEW: Cubs Refrain - Breathe

TRACK REVIEW:

 

Cubs Refrain

Breathe

9.4/10

Breathe is available via:

https://soundcloud.com/cubs-refrain/breathe-1

GENRES:

Synth-Pop; Eledtroonic

ORIGIN:

Toronto, Canada

The album, Tell Me You Love Me (Deluxe), is available via:

https://open.spotify.com/album/7rrRZCo3wxN1R9Q8vmo7iw

RELEASE DATE:

6th April, 2018

_________

IT is back to Toronto…

I head as I look at a talented young duo. It is a rather interesting time for music so, with that in mind, the unique edges and expressions of Cubs Refrain have caught the ear. I will talk about their latest album/a standout track very soon but, before I get there, I wanted to look at Synth-Pop and songs that drive into the heart; how albums can come together and concepts; Canada and the richness of music coming through right now; music that can lift the senses and keep the energy levels up; media and the need to bring international music to this country – I will end by looking at duos and the male-female bond. I have looked at a lot of Pop artists the past few weeks and they all have their own sound and way of working. I am not a huge fan of the entire genre but there are areas of the genre that fascinate me. I feel like modern music is so wide and expansive that it can be hard to get a handle on everything going on and focusing on anyone. It is great seeing artists arrive and what they are about but there are few that remain in the consciousness for more than a few days. Erin and Jordan are Cubs Refrain and have been working together for a while now. Their music takes the mantle of Pop and then builds in synths and energised elements. It is not as sugary and commercial as mainstream Pop and has enough physicality and maturity to appeal to those who love their music with a bit more depth and clout. The reason I feel Synth-Pop is so appealing is because it is about optimism and motivation. There are Synth-Pop artists who look at emotive subjects but most use the platform to create something with more buzz and colour. I am looking for songs that get into the soul and do something wonderful – music that goes further and remains in the brain is to be commended and proffered.

There are many artists doing the same sort of work as Cubs Refrain but, with every Synth-Pop act out there, they bring their own take to the genre. This is not the first time I have encountered the Canadian duo but, with an album out there and doing well (more on that later), it got me thinking about their D.N.A. and what their music represents. Pop is a broad style of music that has evolved and altered through the years. Now, in 2018, we are seeing fewer commercial acts come to the fore and a more developed and deep sound. In terms of Electro-Pop acts, something interesting is happening. In Cubs Refrain, and many likeminded acts, I am seeing the sounds of the 1980s come into their work. The decade is often mocked and derided by many – seen as naff, uncool and rather lame. The thing is (that) we are seeing the decade come into modern music and artists of today are digging into the decade to add to their own sounds. Cubs Refrain look a bit young to have experienced the 1980s the first time around but you can hear little touches here and there. Mixed in with the 1980s sounds is modern-day Electro and some of the mainstream Pop tones that gives the overall sound a sweetness and kick. If you stir all of the tastes and colours together, you get something rather heady and compelling. As I say; there are others doing the same thing as Cubs Refrain so it can be hard distinguishing which acts should be highlighted and those that are producing something rather average. It is all well and good delivering music that has punch and energy but, if it doesn’t hit you and add any substance, one wonders whether there is much point to it. Luckily, there are few who are guilty of that but, in the case of Cubs Refrain, they have taken time to ensure what they put out is full of quality and originality.

Although Tell Me You Love Me has fourteen tracks and is a rather long thing, each track plays its role and the entire record is worthy of fond appreciation. Whereas love, interactions and emotions are part of a personal concept; what interests me most is how the album was recorded and made. In fact, if we track back and look at any concept album; there are risks associated with creating something like that because the words ‘concept’ and ‘album’ cause people to shiver and sniff. We do not see many of them in this day and age but, when it comes to Cubs Refrain’s latest record, it all works out. If it does not have the same intricacies and narrative as something like A Grand Don’t Come for Free (The Streets) you follow the story and involve yourself with all the revelations and developments. I am not sure whether there are particular people that compelled the songs – or it is based on loose experiences taken from Cubs Refrain’s life – but you get a record that collates sounds and ideas from several decades of music and pops them all together. I have described Cubs Refrain as ‘Electro-Pop’ but they bring in Indie and Rock to the palette. You get so many fantastic tones and sounds meshing together and it makes for a really vivacious and stylish album. Erin and Jordan independently spent months record, mixing and producing the fourteen-track album at the home studio they constructed. I imagine the beauty of nature and a rather perfect environment. Imaging all these songs and having that total control. I have tipped my hat to the variety of sounds we hear in Cubs Refrain’s music and how bits of the present and 1980s come together. It is the autonomy and personal input from the duo that makes the album so strong and natural. There are other players on the record, which I shall talk about, but the overall mood and direction of Tell Me You Love Me comes from the duo themselves.

Any concept record that arrives needs, ideally, to be experienced as a complete piece. One can listen to Cubs Refrain and their music – you can enjoy the individual tracks and get a lot from them. If you take an album that has an overriding theme and story behind it, the biggest benefit is listening to everything at once and letting it all sink in. I get these romantic visions of Erin and Jordan conspiring and imagining the songs that we hear on Tell Me You Love Me. I get the impression there is personal relevance to the music and each song relates to some aspect of their lives. There is so much going on the songwriting is uniformly excellent. I am excited seeing how Cubs Refrain develop and what their next album might contain. What we get now is something that has huge professionalism and personality coming through. The duo have taken care of all the creation and production and have made an album that means a lot to them. Each song has its own skin and one, Death of the Grand Piano 2017, Scissors on Wire, looks at the dismantling of a treasured grand piano. Throughout the album, you get so many wonderful stories and moments, it is impossible to put down. I shall move on from this point but admire the duo for taking charge and making an album that needed few other bodies. The cellos, drums and electric guitar we hear were all recorded acoustically. I am not sure whether all instruments were played solely by the duo but you get so much richness and imagination throughout their debut L.P. Lesser acts might be hard-pressed to make an album that ties different years, genres and themes together and make it work. Ambition and lofty ideals can crash and burn artists and critics can be rather cruel. There was little chance of that happening with Cubs Refrain. They have worked hard on this record and released something that steps back in time but it sounds perfectly organic in the current scene. Cubs Refrain are influenced by acts like CHVRCHES and you can hear similarities between the Scottish band and the Canadian duo.

Yesterday, I was in Toronto and reviewing For Esmé. I shall not repeat what I said then but, when looking at her music, I explored the scene in Toronto and why it is so alluring. The city holds so many treasures and there are fantastic venues to be found. Cubs Refrain are different in tone and nature to For Esmé but both have that distinctly Canadian sound. You could say the whole of Canada has an excellence and quality you cannot fault but, like any nation, each different area has its own vibe. The music coming from Toronto is different to that being made in, say, Montreal or Quebec. The reason I keep coming back to Canada is the variety and how consistent the artists are. It is a country that does not get the same oxygen as the U.S. – that is something that galls me. I love the music coming from America and there are few ‘mainstream’ artists from Canada. You have the likes of Drake, I guess, but more of the big-hitting acts are from America. It seems like the media has an obsession with what it deemed ‘popular’ and trending. I am not one of those people who values music in commercial terms: newer music that has more soul and originality is much more worthy. I think the nation warrants more celebration because, in my view, there is more happening compared to the U.K. and U.S. By that, I mean Canadian music is wider-reaching and more nuanced. You have the same commercial Pop acts but, in terms of other genres, all the boxes seem to be ticked. What I love about acts like Cubs Refrain is how they can add their own voice to Electro/Synth-Pop and not repeat what is already out there. Cities like Toronto stand in the mind because of the supportive nature of artists and the sense of community. You have that love and respect running through the area and the fantastic venues mean artists get a chance to cut their teeth in some spectacular spaces.

Canada has produced some legends through the years – including Neil Young – but the modern breed emerging are more intriguing. I feel we will see future legends coming from Canada that can match the best of the U.S. I am drawn to Cubs Refrain because I sense they want to remain in music for the long-run and inspire others. This is their debut album phase and the duo is keen to carve out their own landscape. Jordan and Erin have that connection and trust in one another and are a really solid unit. I feel the media needs to be more proactive when it comes to promoting music that falls outside of their comfort zone. Many British and American sources look at what is happening at home and they do not really take the time to explore anything coming from other nations. Maybe there is limited time to be too ambitious but, for U.S. journalists, Canada is right across the border. I wonder why few of the best new acts get highlighted by U.S. sites. I know there is a good local press in Canada but so many artists are being denied prominence and exposure – a trait the industry needs to stamp out. I feel Cubs Refrain will succeed and get where they need to be but it irks me so many good artists need to work tirelessly to promote their music. A lot of artists are quitting or getting disheartened because media sources overlook them or do not have time to cover them. I think more eyes and ears should be tuned the way of Canada and all the incredible music that is coming from there right now. In a busy and packed world of music, Cubs Refrain are worthy of bigger respect and, in time, will get that. Tell Me You Love Me is picking up good reviews but, like many artists, gigs and playing live is the way they will get their music to the people.

I compressed a few different points into the last paragraph and will finish on a couple of points. I hinted at the eclectic nature of Cubs Refrain and how the music gathers from various corners and explores a wide plain. If the variegation and scope attracts the mind and gets people curious; the energy and rush of the music gets the body involved and motivates movement. Synth-Pop is a genre that is gathering a lot of steam and is perfect for the summer months. Although Cubs Refrain are ripe in every season, what they have released on their debut album can soundtrack the warmer climate and get people moving. I am not certain whether the duo are heading around the country and involved with many festivals. There will be gigs coming up but, to me, there needs to be that contrast of more intimate venues and bigger spaces. Tell Me You Love Me is a record that, by its name, has intimacy and tenderness but the way that is expressed, at times, is bombastic and sparkling. Because of this, you need to witness the album in various-sized locations. I hope the guys get the chance to play some outdoor events and the people fall for them. They are picking up acclaim and traction but, to get it to new heights and countries, it is those all-important gigs that are most important. I hope the duo come to the U.K. and find the time/money to play some dates over here. Canada is a vast nation that has some wonderful venues that could easily house Cubs Refrain. I love their music and can hear the determination and strength right from the off. What amazes me is how confident and controlled their debut album sounds. They have taken great pains to make the record in their own visions and ensure there are no loose edges and sloppy tracks. Each expression is perfect in form and the brilliant production brings the music alive. The attack, intelligence and motivation you hear bouncing from the speakers infuses the blood and gets you excited.

I think there are some wonderful duos out there and, in terms of demographic, they are overtaking bands in terms of potential and quality. I get to experience many are whether they are of the same gender or not, it is the friendship and relationship at the heart that makes the music pop. Many of the male-female duos I experience are in relationships. That can be hard to balance and ensure there is no bleed-through that can impact the music. By that, that relationship can be strained if the duo spends too much time together. Home life and domestic life can spill into the music but, when they can get the balance right, you get some incredible music. The duo of Cubs Refrain, I assume, are not involved and it is the solid friendship and respect that means the music stays with you. I am not saying bands and solo artists lack that ability to infect the senses of awe but there is a different approach from the duo. The reason I love the formation is because it is tight and there is a second body. Solo artists have to shoulder a lot and they only have their own views and opinions. Bands can be democratic but, for the most part, the control comes from one person/the lead and their stock, in general, is waning – there are fewer big bands ruling in the market right now. Duos are not breaking into the mainstream that quickly – aside from the likes of Royal Blood and a few others – but the underground is sporting so many wonderful and interesting options. Let us think forward and look at why Cubs Refrain will get a lot of love. It is the skill, connection and intuition Erin and Jordan share that makes their music so incredible. There is the risk that, if they spend so much time together, there can be disagreements and debates – that is natural for any musician. You listen to their debut album and get the sense they were on the same page at every single step of the process.

Breathe is a perfect example of what Tell Me You Love Me is all about and what Cubs Refrain can produce. The song comes at the half-way point of the album and begins with delightful, high-sounding blips. There is a racing series of notes and something that percolates and delights the taste buds. The heroine comes to the microphone and delivers a smooth and breathy vocal – one that has sweetness and a sense of questioning. She is breathing in the afternoon – feeling this too soon. That might sound oblique and disconnected but it is an interesting way to open the song. Rather than come in with something rather vague or cliché; you have an expression that gets the mind working and forensically seeking. Maybe there is the headiness of love and a premature sense of affection; perhaps a contentment has come along as more caution should be imposed. Without too much revelation and explanation, you start to figure the song out and where it might head. The need to end a fight and resuscitate things is evident. It seems the sweethearts have been squabbling and fractured and they need to step back from the carnage. Whilst the lyrics look at tensions and a need for relief, the music keeps that alacrity and sense of upbeat high. The vocal carries weight but remains sweet and agile throughout. The Pop vibes keep the song from being too weighty and downcast; the arresting and bubbling synths add a seriousness and adult tone that takes the mind away from mainstream Pop. The duo combine vocals and give the song an extra layer. There is a conversation occurring that expresses two viewpoints but the truth has unity: the need for things to change and get back to a good footing. The composition gets more arresting and bold as the song progressed. The notes have that twinkling and spacey quality; it gets packed and brighter and, with it, takes the mind away. Jordan come to the microphone and wonders if the winds will change – so this fight can end and things can get back to normal.

It is when Erin and Jordan combine their vocals you get the biggest rush. They have different sounds and personalities so it is good hearing them working against one another and melting together. I guess one might need to look back on the Tell Me You Love Me to get a sense of why there is a fight and what caused this breakdown. The duo are determined to end things as they are and find something more positive. The vocals get more determined and they want to remain in each other’s lives. There is an addictive quality to Breathe that means you are invested throughout and keen to see where the story heads. It seems like things were great but now things have gone sour. Maybe the sweethearts want different things and they are on different pages. Perhaps the relationship hit a rough patch and, rather than talk and spend time apart, they have been too involved and unable to repair things. That passion and sense of physicality keeps the song above the parapet and keeps the mood lighter. It might sound strange but you never feel depressed or too anxious hearing the song. Even though the words express something broken and frayed; the listener is treated to a composition that keeps its head up and its body racing. By the end of Breathe, you wonder what will happen and whether things can be salvaged. Although the song deals with something routine and commonplace; the way it is expressed and delivered means things are never ordinary and predictable. Many will relate to what is being said in the song. It takes a few listens for the song to get into the head as there is a lot happening throughout. There are few artists that can balance the cheeriness and adventure of a composition and serious lyrics and make it work. The song is never cheapened and you are always rooting for the couple to get back together. Rather than accuse and throw acid at one another; there is that dialogue and need for repair and discussion. Although things night not return to what they were; maybe they will be able to find some sort of compassion and dispense with the bitterness. It is a strong and authoritative effort from the Canadian duo and the highlight from Tell Me You Love Me – Breathe is a song that will get into the mind and leave its impressions for weeks to come.

I have talked a lot about aspects of Cubs Refrain: where they come from and what music they make; why their debut L.P. is exceptional and where they might head. I feel like there is a lot of room they can gain and momentum is in their favour. I wonder whether they will come to the U.K. and what dates they have in the diary. Tell Me You Love Me is a record that can adapt to any market and venue. Even though there is a lot of spirit and energy throughout; that does not mean it is restricted to big locations and the summer. There is intimacy and revelatory tenderness at times and music that can be pared-down and made acoustic. The duo have the option to ramp things up and add more players; they can strip their music to the bone and have that adaptable quality. Music is such a crowded place and it is always hard keeping track of everything happening. There are artists that slip through the cracks and it is disappointing to consider after all the effort they put in. That may sound rather defeatist but music is so open and vast there are going to be casualties along the way. In terms of Cubs Refrain and where they can go, there is a horizon ahead of them and a lot of exciting days. I know there will be international dates coming up and the duo will get a chance to amaze different nations. I will end this by highlighting the benefits and qualities of Cubs Refrain and their new work. I have focused on one track but, as I explained earlier, a concept album like Tell Me You Love Me needs to be viewed as a whole. Songs work when they are isolated but take on a different quality where they are part of a complete story. Erin and Jordan have created something compelling and, in the process, announced themselves to the world. It may take time before they truly get into the top flights but they are working hard to put their music out there. The scene is changing and, as said, the band market is not as profitable as it once was. Duos are starting to come through and, alongside affection for Synth-Pop and the music of the 1980s, this all works in the favour of the Canadian duo. Make sure you grab Tell Me You Love Me and let it get inside your head. It may only be the debut album from Cubs Refrain but it shows they have the promise to…

BECOME a big success.

_____________

Follow Cubs Refrain

 Official:

http://cubsrefrain.com/

Twitter:

https://twitter.com/CubsRefrain

Facebook:

https://www.facebook.com/cubsrefrain/

Instagram:

https://www.instagram.com/cubsrefrain/

SoundCloud:

https://soundcloud.com/cubs-refrain

Spotify:

https://open.spotify.com/artist/6KibUqSwBOyTrLxj0u1nKn

YouTube:

https://www.youtube.com/cubsrefrain

BandCamp:

https://cubsrefrain.bandcamp.com/

LIVE PHOTOS:

Shay Markowitz at Bluetrail Creative

FEATURE: Gone Kerouacin’ (A.K.A. The Pop Singer’s Love of the Pollen Count): The Simple and Fundamental Pleasures of Life on the Road

FEATURE:

 

Gone Kerouacin’ (A.K.A. The Pop Singer’s Love of the Pollen Count)

ALL PHOTOS (unless credited otherwise): Unsplash 

The Simple and Fundamental Pleasures of Life on the Road

__________

NOT everyone is sold on the notion…

touring is all brilliant and the best thing you can do as a musician. It may be romantic/naïve to assume there are no downsides to gigging and it is a fantastic ride. One of the unavoidable factors of modern music is the realisation that all musicians need to rely on the revenue from touring. There was a day when music was dominated by the mainstream – very few unsigned artists made their way to our thoughts – and we associated their lives with big stadium gigs and something rather soulless. Now, with the industry wide-open and everyone able to have a say; there is that necessity to get out there and play to as many people as possible. I realise there is the stress of having to make ends meet by playing so many gigs and relying on people coming out to see you play. It can be daunting getting few opportunities or seeing venues closing down. I know there are other drawbacks to touring. Being crammed into cars and vans with kit and crew can be constraining and lead to arguments; being shuttled between venues can tire and depress; even bigger artists feel the strain and wish they could get some time off. It is harder and harder making enough money to live and being able to get some proper downtime and relaxation. Whilst the journey (an actual one) can be draining and hard-going; the destination is what makes up for it.

I have heard a lot of musicians expose the pleasures of driving through countries and meeting people along the way. The idea of British touring usually involves rammed motorways, sad pitstops and nothing that really buckles the senses. With few artists able to afford international travel, is touring and being constantly on the road all it is cracked up to be? For many, the reality is being stuck in sweaty lounges and vehicles; having the fatigue and pressure of physical exertion and being away from home for long spells. The lack of relationships and anxiety can take its toll; the health risks of heavy lifting, high-intensity performances and straining the voice are obvious. An article published a few years back took testimony from artists and musical figures:

“Touring can be destructive on a musician, it was destructive on me, that’s for sure,” former XL Recordings artist Willis Earl Beal tells me over the phone from his home in Washington State. “I’d come home from tour, and I’m back to feeding the cat. My wife at the time – I don’t have a wife now – worked 12-hour shifts, so I was cooking the dinner all that sort of shit. There was a lot of tension, because I’m thinking to myself, ‘I don’t deserve this, I’m a big star’ and that was one of the contributing factors in ending my marriage. This fucking career, the striving towards something that never existed and doesn’t exist.”

 IN THIS PHOTO: Kate Nash/PHOTO CREDIT: @katebellm 

A breakdown of personal relationships is common, with many musicians feeling alienated from loved ones back home. Kate Nash, who rose to fame while still in her teens, says that the contrast between her life and that of her friends was hard to get her head around. “I was still living in a tiny bedroom at my parent’s house. Your friends are studying and you’re doing something very different. Even though that’s exciting, you can feel lost. You’re young and you’re not taking a normal path.”

Zohar agrees: “Relationships are compromised, partly because it becomes difficult to relate to people with a more stable lifestyle. Your problems and cares become radically different to the other people in your life.”

For some, however stressful and chaotic touring can be, it is preferable to daily life at home. “Touring institutionalises you and it can make normal life feel mundane,” says Vaccines singer Justin Young, recently returned from a handful of dates in the US. “You end up with a lot of expectations from life that aren’t always fulfilled in everyday tasks like going down the shops for a pint of milk or even going for dinner with friends. It’s hard to replace all that adrenaline”.

There are obvious realities and problems being a musician – many come from outside of touring and sitting in front of a laptop. I understand there are dangers to life on the road but, more than that, so many people prefer the open highways, great venues and new faces.

Modern music is becoming less and less sociable: we are spending more time sat in front of laptops and too knackered to have a drink and get into the open. Touring, for many, provides all the release and sociability that is missed every other hour of the day. I have painted bleak strokes (above) but the fact is touring and multiple gigs can strengthened artists and make a huge difference. Gigs provide the chance to get in front of tastemakers and create a reputation; it sharpens performance skills and can set a career alight. Everyone has to go through touring and, when you look back at legendary artists, you get regaled with anecdotes and wonderful memories from the road. Think about the likes of The Beatles and Led Zeppelin. In some cases, that thrill and sense of excitement come from other sources – drugs and sex, I am thinking... – but is that tangible and direct connection with the fans. If you want groupies and want to blow/be blown every night then that is your decision. Modern music has stepped away from the excess, to a degree, and debauchery we associated with the biggest artists back then. Although there are sexual accusations and dirtbags infesting the industry still; they are in the minority and we are actually seeing consequences when it comes to disgusting behaviour.

I hear from musicians who love traveling around and seeing different areas. Whilst the waiting and endless driving/flying can wear the senses and lead to some dissolution; there are downsides and problems in any industry. It is about getting the balance right and highlighting all the great things associated with touring. Getting to new towns and countries expands the mind and helps build new fanbases. Social media is great in doses but cannot compensate for good old-fashioned grafting and the instant reaction of the crowds. Many yearn for the big festivals and that undeniable ecstasy of hearing thousands of people chant songs and cheer! If you tabulate all the bad points of touring and counteract that with the performance and lessons learned; can you really say things are that bad?! I love journalism but get the biggest thrill when I go to gigs and watch artists play their stuff. Travelling between venues allows new sights and smells come to the mind. You get a mini-holiday and it can be wonderful chatting with new people and seeing fresh sights. The reason I wanted to augment the delights of touring is the real and raw basic: getting into a venue and throwing love out to the people. Whether you are an acoustic performer playing to a few dozen people or a sweaty band owning a horde of moshing fanatics – there are few experiences that match the giddiness and excitement.

With more and more venues facing peril and unsteady futures; I wonder whether documentaries should be made, aimed at those in power, that shows what the fabric of the music industry is all about. That elemental and possible-life-altering pulpit of live music has transformed people and led to explosions in music. In spite of some drag and darker elements to gigs; musicians go on the road because they want people to hear their music and love what they do. The necessity of subsidisation and survival is an unavoidable cost of being a musician. So long as artists take a pragmatic and disciplined approach to health and rest on the road – eating as healthily as possible and sleeping as much as possible; keeping clean and not playing when you are ill – then life can be a lot more beneficial and pleasurable than some claim. I am always pleased when I see gig snaps and positive statuses from musicians who have basked in the buzz of a set or seen a new town that has blown their mind. These moments should be cherished and are greater motivators to get into the industry than money and fame – for those who value music and are not sell-out phonies.

Touring and its pluses can be subject to scrutiny but I still feel there is plenty of beauty and joy to be found taking music on the road and getting involved in a physical and very real way. The irony is that, the more popular an artist becomes, the more people want to see them play. That can lead to some burn-out and problems but there is that need to be sensible and give yourself necessary breaks. The industry is growing and expanding by the year and, with that, many are eager to get out there and rock the crowds. Festivals are in swing and there is that tangible eagerness radiating from the Internet. Artists are gearing up and, whether it is the electricity of the masses or the delights of going somewhere new; there are big smiles on the faces and huge ambition! I am angered venues are facing closure and we have to read bad news all the time. Maybe more people are staying in but, when you ask musicians, they want to be out there and seeing as many people as they can.

We are, in music, becoming more anxious and less happy. The demands placed on us and the way we conduct business is making us more isolated and fulfilled. I feel so much of this comes down to the online world and the inactivity many of us take for granted. I appreciated gigs can come from the Internet but the psychological upsides of live music and vibing with a crowd can do so much. It has its side-effects but there are those easy and clear benefits that can enrich musicians and lead to inspiration. Even if the car trip is a little delayed and stressed; turning up to a happy crowd and playing a great set makes everything worth it! Perhaps there aren’t the thrills and hedonistic exploits of Jack Kerouac’s On the Road but, when all is taken into account, does anything beat the live performance? It is the best aspect of music and, if you ask musicians, the majority will say it is an experience that is…

IMPOSSIBLE to beat.  

FEATURE: Roses with Plastic Petals: Why Is the Drive to Create Gender Balance at Festivals Taking So Long?!

FEATURE:

 

Roses with Plastic Petals

ALL PHOTOS (unless credited otherwise): Unsplash 

Why Is the Drive to Create Gender Balance at Festivals Taking So Long?!

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EARLIER in the week…

IN THIS PHOTO: Annie Mac (who has campaigned for change regarding festival gender bias)/PHOTO CREDIT: Getty Images

I got downhearted because I was receiving so many requests regarding male artists – I still am, to be fair! It is disappointing seeing so many emails arrive that want me to spotlight male musicians: one wonders if there are female artists working and, if so, why they feel reluctant to come forward! The truth is much simpler: the agencies and labels who bring music to my view prefer male artists and there is this culture that suggests male artists/bands get more attention than anyone else. It seems there is still that commercial drive for male bands and, even in an industry where the solo artist is king; so many female performers are going alone and making their own way through music. I am happy to contact female musicians but I like people coming to me. There is no problem my end – I hope – but, when they see a website that puts out male artists routinely; are they willing to approach and ask to be featured? I feel music should be that equal footing where there should be a fifty-fifty split in terms of male-female focus. If sites lean too heavily either way then it risks that sexist scent and a rather narrow mindset. I am determined to get more women on my blog but am finding it hard to recruit. It is ironic seeing the male solo artist rise because, in my view, the best of this corner of music are female.

IN THIS PHOTO: Florence + the Machine (an artist who could easily headline a major festival)/PHOTO CREDIT: Getty Images

They are on the same planet and making music that is as strong, if not stronger, then their male peers. There is comparatively little celebration and, unless they established and famed; how often are they going to get to the biggest stages and have a bigger say in music?! There is an argument that suggests the plan to get an equal split on the festival bills is a little long-sighted – or should it be short-sighted? It is ironic that the target for parity on the headline stages is 2020: one feels this ‘perfect vision’ and realisation has come too late and, if anything, is too delayed. Why does it take so long to get this balance right and redress things?! You can rearrange Glastonbury and the big festivals and make sure there are female headliners across the range. It is not a case of compromising ideals and pandering: there are artists ready to tackle the festivals that have, until now, been placed under headliners. Established artists like St. Vincent and Laura Marling could take the reins; legendary performers like Björk and Beyoncé would be perfect for 2019 inclusion. Right there, you have four performers, all different, who could create incredible headline sets – none of them will be in the mind come this time next year. It seems sad we even need to have this debate!

IN THIS PHOTO: Laura Marling/PHOTO CREDIT: Getty Images

I know I am treading old ground – and keep documenting the issue of sexism – but my problem comes with small evolution and delayed gratification. Maybe there are slow developments and steps being made; nothing that suggests anything anywhere near good enough. In fact, looking at a BBC article from February this year, the target year for this equality is 2022! It is four years away and one wonders what needs to happen in four years! If it was rebuilding a nation and a radical change then it would forgivable. Being Britain, given the rate we get things done, I am not shocked it takes so long to make simple changes. That article laid out the facts and showed why the statistics are so shocking:

“The days of male-dominated music festivals could be drawing to a close, after 45 events pledged to achieve a 50/50 gender balance by 2022.

Brighton's Great Escape, the Cheltenham Jazz Festival, Liverpool Sound City and the BBC Proms are among those who have signed up to the initiative.

It is supported by Garbage star Shirley Manson, who recently called the music industry's lack of equality "insane".

Last year, 80% of festival headliners were male, a BBC study discovered.

The commitment to gender equality was drawn up by Keychange and the PRS Foundation, with the aim of creating a "better, more inclusive music industry for present and future generations".

"Last year, on average, women made up 26% of the festival line-ups in the UK, so we're talking about doubling that in a five-year timeframe," said Vanessa Reed, CEO of the PRS Foundation.

"That's quite ambitious but it's achievable."

The pledge has been adopted by BBC Music Introducing, which hosts stages for new artists at festivals including Glastonbury and Reading & Leeds. However, those festivals have yet to sign the pledge on a wider scale”.

IMAGE CREDIT: @lilyallen

The poster above is from Lily Allen; she took out all the male names from the mentioned festivals to show how few females were included. We are not even talking about headline slots: this is simple inclusion! It is sad to think that, come 2022, we will be no further along. People can sound off and make pledges but there is a confusion between festival line-ups and headline slots. I am appalled Glastonbury’s return (next year) is unlikely to see any female headline; the biggest festivals of this year are penis-heavy and, if you are lucky, you may see some female artists hustling near the top of the posters! I can see more women coming into festivals and, given the draw and influence of social media/streaming sites; there is more visibility and a greater opportunity to accelerate female artists to the masses. There is hope that more reinforcement and fight is coming to back the need for gender balance:

“…The initiative is being driven by Keychange, a movement from the PRS Foundation that wants to achieve real change in live music.

The opening spell of festival announcements this summer have indicated that this conversation still needs to be had, with many major events still hopelessly male dominated.

The new pledge finds 45 events aiming to achieve gender equality on their line ups by 2022, with featured festivals including Liverpool International Music Festival, Pop-Kultur, Canadian Music Week, and BBC Proms.

 PHOTO CREDIT: Victor Frankowski

The new additions join partnering festivals Reeperbahn Festival, Way Out West, The Great Escape and more, all of whom have pledged to gain gender equality on their bills within five years.

Vanessa Reed, CEO of PRS Foundation said:

“We support diverse talent across every programme we run at PRS Foundation. 40% of our grantees in 2017 were from a BAME background and 53% featured female artists. Our focus on gender equality in 2018 aligns with the centenary for some women being given the vote in the UK...”

There are the black-and-white facts and these pledges; there are angry voices coming and the need for more immediate change. It keeps me coming back to the disturbing underline: 2022 is four years away! I am in a bittersweet position where I get to see brand-new artists come my way and what is happening in the industry as a whole. The downside is the few females that get pushed to me and how hard it is to get labels/P.R. firms to open their books and be more proactive regarding scouting. I am not buying the assumption (so few women being promoted) is because they want to be D.I.Y. and not have anyone else butting in. Every week shows great female talent, of all varieties and tastes, hustling and proving they have the fascination and complexity to win hearts for years to come. If anything, the band market is dying away and the solo corner, stronger in female hands, is taking a bigger portion of the pie.

It moves me to think that realisation and reality is being ignored and refuted to make way for the predictable stubbornness of male promoters. There are many opposed to the hegemony but is those most powerful and wealthy that are withholding breakthrough. We are seeing some sexist voices that say music is about quality and what is the problem with more men being on the bills – nobody is making too much of a noise and there is no harm seeing that disparity! Whilst there is not protest in the stress; there are plenty that is shouting and getting in the faces of those in commanding positions. The biggest journalists and tastemakers are men and, in an industry that is not making huge leaps anytime soon, the need and call for change are coming from female commentators and figures – they are being drowned out by silent and muted souls; ears that are unwilling to bend. Every way you look at that statistic – festivals being equal by 2022 – seems wrong and baffling. I am listening to the biggest radio stations and, in terms of the music they play, it is almost equal regards the gender split. Look at independent and underground options and they are committed to equality. One looks at Spotify and streaming services and female artists are being featured and celebrated. We all hear great music and these stars of tomorrow but, when it comes to booking festival slots and organising the line-up; why is there such a majority of men?! You look at modern wonders like Jorja Smith and Kacey Musgraves; Goat Girl and Phoebe Bridgers and you have somewhere to start – you could stand there for a long time naming female artists who could easily appear on festival bills!

IMAGE CREDIT: Getty Images

Women feel like they are being held back and overlooked by those who have the power to make these positive changes:

“Leading female musicians and industry figures say the intimidation and exclusion begins in childhood, with girls not being encouraged to play guitar or join bands. Many shared anecdotes of the frustrations and vulnerabilities they’ve felt as female artists: “An old manager told me that he wouldn’t be sending out my music, he would just send out my photo to labels,” recalls writer and musician Emma-Lee Moss, known as Emmy the Great. “But you just have to battle through that.”

“If you prevent women from seeing any examples of them achieving, then it prevents them from believing they can achieve it,” says guitarist and singer-songwriter Laura Marling, who addressed gender inequality and its effects in her podcast Reversal of the Muse.

“In my experience there are surface visible things, like touring on my own and then realising that all the people I perform with are men. Or that I wasn’t encouraged as much to play the guitar as men,” says Marling. “For women to achieve they have to go around that bump; they have to be as good, if not better, than their male counterparts”.

Is it only festivals where there is this alarming injustice and inequality? Look at other sources and you need only look at the charts and award ceremonies to see the issue is systemic, widespread and galling:

“In an analysis of the top 600 songs from 2012 to 2017 — defined by Billboard’s year-end Hot 100 chart for each of those six years — the study found that of 1,239 performing artists, 22.4 percent of them were women.

The numbers are much lower among people behind the scenes. Of the 2,767 songwriters credited on those songs, 12.3 percent were women. Female producers — the people most responsible for the sound of pop music — are even rarer, at just 2 percent in a subset of 300 songs across this same period, the study found”.

I am looking at the drive-time/evening slots of the major radio stations and there are no female anchors. You only need look at record bosses, editors and those running P.R. labels and there is that huge male majority. The greatest disparity arrives when you look at the studio and those making music: men are still the common entity and there are only gradual moves towards closing the gaps. It seems a festival breakthrough is taking so long because right through music’s marrow, there is this male majority and ignorance towards change. I am glad there are articles coming out that shame those at the top and urge progression.

In closing, it seems like someone needs to come in that can offer a sharp and sustained boot to the arse of the industry. Our Government are not interested in music and have no idea what is happening. The men are making the big decisions - very few are as active and outraged as female artists/figures. This sluggish and endless fight is going to continue and, even if there is a fifty-fifty festival split in 2022, it begs the question as to why it takes so long. I am cynical all the forty-five festivals committed to change will comply and uphold their end. Would protest and female artists refusing to play lead to quicker change? Do we need to get on the street and literally shout about the sexist attitude? Do festivals needs to account for their behaviour and justify their decisions? I feel these are all worthy steps but it seems like, even if millions come out in shock, that would not get people making changes. The quality and variety of female talent speaks for itself which is, I am afraid, the major problem: there are relatively few male supporters and not many willing to take drastic action to effect actual action. Life on the road, as I shall document later today, is wonderful indeed: so many female performers are being denied that or forced to play small venues to get their music heard. It is 2018 and, the fact we have to sit and wait for four years (to see equality at festivals), it gets me rather angry. I am glad to see people are not sitting down quietly and satisfied with the way things are. Let’s hope, the more momentum builds and the more research put out into the world, it will open eyes and minds to the fact that the industry, right now, is really not…

IN THIS PHOTO: Lily Allen/PHOTO CREDIT: @lilyallen

DOING as much as they should.  

INTERVIEW: Darren Campbell

INTERVIEW:

Darren Campbell

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AMONG the busy world of the singer-songwriter…

there are those who stand out and remain in the memory. Darren Campbell is one of those artists with the range and talent to endure and compel. He tells me about his latest track, Wherever You Are, and how it feels having it out there; how he has progressed as a musician – he tells me when music came into his life.

I ask him about gigs and influences; whether there is more material coming later this year; how it feels picking up impressive acclaim and support; if there are any new acts worth following – Campbell ends the song with an awesome song choice!

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

Hey, Sam. I am doing great, thanks. This week has been pretty hectic as I am in full swing of promoting my new single! I am also planning a trip to the States for my brother’s wedding - so that’s fun!

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

Of course. My name is Darren Campbell and I am a twenty-four-year-old singer-songwriter from Scotland. I am now based in London and spend my time playing in venues around the city to promote my music and meet like-minded musicians.

Wherever You Are is your new single. Can you tell me what its story is and what inspired you to write it? 

Wherever You Are is inspired by the need to travel and see what’s out there in the world. I have older brothers in the States, great friends living in different countries and my parents back home in Scotland. With this song, I captured the feelings I had regarding the need to get out of your comfort zone and experiencing life whilst still feeling close and connected with the ones you love, even if they may be half the world away!

I see it has picked up a lot of acclaim – including a spot on a prominent Spotify playlist! How does it make you feel knowing the song is connecting with people around the world?!

This is honestly the best feeling a musician can have. When you take into account the fact the song has gone from only me playing it in my room to being produced and put on the Internet, and now being heard by people across the world…

It’s quite an amazing feeling.

Will there be more material coming later in the year? What are you working on later this year? 

Yes. I am working on a music video this summer, so watch this space!

Dundee is your hometown. Is there quite an active scene there at the moment? Do you think the mainstream media overlooks Scotland when it comes to musical talent? 

I’m honestly not too sure about the state of the Dundee music scene at the moment. I reckon London has more opportunities going for musicians: I guess that is the reason I moved here in the first place. I don’t really think Scotland is overlooked either. For example; there is The Edinburgh Fringe festival in August!

Do you recall when music came into your life? What might we find if we searched your record collection? 

I don’t recall a specific date. But, the first album I ever bought was by a band called Ghosts; it was called The World Is Outside. I loved that album and played it constantly! Nowadays, I listen to lots of style/genres. My top-three (artists) at the moment are Gregory Alan Isakov, Harbour and The Wonder Years

Can we see you tour this year? What gigs do you have coming along? 

My next gig is at Roadtrip & The Workshop on 2nd June in London! I am supporting a band called Mercy Mode (from L.A.).

It seems, to me, the stage is somewhere you love to be. Is performing live your favourite part of releasing music would you say? 

I love most aspects of being a singer-songwriter: performing on stage is an incredible feeling and I always walk off feeling great. I also love the idea of people listening to my music in their homes and on their phones!

What do you hope to achieve in 2018? 

This year, I will be working endlessly to get people’s attention on to my music. I am confident now that I have Wherever You Are recorded. I’m so happy with the finished product.

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

One night, I brought my speaker down to Leicester Square in London and performed live on the street. I drew a large crowd and everyone began dancing to the songs. It was a brilliant night that I will always remember - and something different to what I am used to.

Which three albums mean the most to you, would you say?

Only by the Night by Kings of Leon; This Empty Northern Hemisphere by Gregory Alan Isakov and War Paint by The Dangerous Summer.

What advice would you give to new artists coming through? 

Well. I’m not sure how qualified I am to give advice as I am only twenty-four! But, the principles I am living by at the moment is work, work, work! You have to want to succeed more than you want to relax - and more than you want to go out and get smashed on the weekends. Also; money you earn should be invested back into your music - not on extortionate meals, extortionate alcohol and extortionate fancy clothes, cars and jewellery etc.

Sounds extreme, but that’s what drives me - and I’m pretty passionate about these viewpoints!

IN THIS PHOTO: Gregory Alan Isakov/PHOTO CREDIT: Blue Gabor Caleel

Are there any new artists you recommend we check out? 

I’d definitely recommend Gregory Alan Isakov if you are into your Folk music - and also Misterwives (my brother’s band).

IN THIS PHOTO: Misterwives

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

I set one evening of the week aside from music (usually Saturday evening) to chill, destress and spend time with my friends.

Finally, and for being a good sport; you can choose a song and I’ll play it here.

Let’s say this one from Harbour...

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Follow Darren Campbell

Official:

http://www.darrencampbell.co.uk/

Facebook:

https://www.facebook.com/darrencampbellsmusic/

Twitter:

https://twitter.com/1darrencampbell

Instagram:

https://www.instagram.com/darrencampbellmusic/

Spotify:

https://open.spotify.com/artist/54xz4bJLjkjKssOdLkZebS

SoundCloud:

https://soundcloud.com/darrencampbellmusic

YouTube:

https://www.youtube.com/channel/UCRHr5UpQ8GkTc_JeJ-ekapg

INTERVIEW: Run Maggie Run

INTERVIEW:

Run Maggie Run

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FROM a Chicago force of nature…

I head to the shores of a band with equal force and fortitude. The Hamilton-based band Run Maggie Run has been talking about their new single, Endlessly, and whether more material will come – the Canadian band discuss their formation and the sort of artists who have inspired them.

The chaps recall fond memories and tell me where they are touring; if international gigs are a possibility; all the new artists we need to get our ears around; whether they have any more plans for the remainder of 2018 – they end the interview by selecting some cool tunes!

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

Peter: We’re great! This week has definitely been a busy one, with the release of the new single and all. But, super-rewarding as well - it really is an amazing feeling to see people vibe and resonate with something that we’ve worked so hard on.

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

Certainly! We’re Run Maggie Run; a group of five Canadian fellas who love making music. We’ve been described as ‘Vaguely haunting Indie Folk-Pop’ before and, to date, we still haven’t come up with a better description of our sound!

Can you talk about the new single, Endlessly? What is the story behind the track?

Gavin: We’re right in the middle of putting together our first album. We had a line-up switch: our first drummer left the group and we sorta floundered in limbo for a month or two before adding Jared, our current keyboardist. It was during this time that we started messing around with some more electronic elements as well - and with all this change there was a lot of uncertainty as to how the band was going to move forward.

Endlessly was the first track we wrote with Jared in the group, and for us, I think it was exactly what we needed. The success of putting this tune together is what gave us the confidence to keep moving forward with this new line-up/approach.

Dylan: This tune began as one of those ‘Let’s-all-make-noise!’ sort of jams, if I recall correctly, and, as mentioned previously, was the first track written with our current roster. This was really a sort of spur-of-the-moment connection between the five of us and I feel it really built a solid foundation and was a great ice-breaker for the tracks that have followed. It has really felt like a rebirth in a sense; a band change that was accompanied by a shift in focus and sound that couldn’t have been more refreshing and inspiring!

Jared: The verse’s structure came together as a collaboration between Peter and Gavin. I’ll be honest; at first, the three-chord nature with F major opening and closing the sequence was not something I bought in on originally - though I’m all in on it now! I was messing around with a bunch of chord progressions and one eventually led to the chorus. Darren and I also developed the outro, over which Dylan put this killer guitar line with great amounts of delay. All was left to add some Gavin-esque vocals and lyrics - and we had a new song!

Darren: This song had something for everyone in the band: it was a bit of an amalgamation of what we all wanted to write. It is one of the only songs we wrote from scratch as a spur-of-the-moment jam and I think that added so much to the emotion it has. Ultimately, I think it makes people feel the way we wanted them to feel and that was the main goal.

What was it like putting the video together? Was it fun to shoot?

Peter: The shoot itself was definitely a lot of fun - we shot it with our good friend Rohann Agalawatte (of R.O.Creative) in a bowling alley basement after the alley had closed; so the actual shooting was all done around 1-3 A.M. The set and overall look turned out way better than we had ever hoped – however, there was a price to pay and that came in the form of carrying seven massive CRT T.V.s up and down a full set of stairs. Unfortunately, we’re musicians and not powerlifters so that was definitely a bit of a physical struggle!

That being said, the end product was definitely worth it in our opinion and we have to give a lot of that credit to Rohann for being a wizard with the visuals.

Is there more material coming from you guys? What are you working on?

There most certainly is! We won’t give away specifics for now, but more music is definitely coming - if any folks are interested, maybe keep an eye out around August. Our social media’s will be giving you all the right hints and details at the appropriate times.

Jared: The best previews are given at our shows. We’re continuously writing new material and, presently, this is the only place (apart from the rare Insta-live broadcast) to hear our new repertoire…

Run Maggie Run formed in 2016. How did you guys find one another? Is there a story behind the name?

Peter: Of the original line-up, all of us were students at Sherwood Secondary School in Hamilton, Ontario and had all been friends throughout our time there. Gavin and Darren were in a group called Citizen Kid in high-school while myself, Dylan and our original drummer, Devin, played on our own. After high-school, Citizen Kid ended up disbanding and, after a few months of Gavin using the moniker as a solo act, he brought the rest of us in.

Around the time that Devin left, I went to an Engineering Society Coffeehouse (I was and still am an Eng student at the University of Waterloo) and found out that Jared, who I had known previously, was an absolute wizard on the keys. I asked him to join once we had the vacancy and he accepted!

Jared: Peter heard me play (and sing - though that was a more of a detractor I think!) at said coffee house. It wasn’t until about two months later that a message on Facebook came through asking if I knew any drummers or keyboardists. I jokingly replied: “Is that an offer (to join your band)?” Turns out I had very similar tastes in music. After a few trial rehearsals in January of 2017, I started playing live with the group in the following month.

 Gavin: As for the name, there’s an old Folk song by a band called The Journeyman, and one of the refrains in it is “Run, Maggie, run/Chase the rising sun”. I used to listen to this song all the time with my dad, so it’s kind of kept a special place in my heart and just seemed super-appropriate as a moniker.

Do you think the material you are making now is the truest sense of who you are and what the band is all about?

Dylan: In this current stage of our musical careers, I’d like to think we are only just graduating into something deeply atmospheric and emotionally-driven. We are really giving our all and going over everything with a fine-toothed comb when it comes to songwriting and planning for future events.

So; I would say our current material is the truest sense of who we are now but would like to add that there can only be progress made from here. We can only really learn to express ourselves deeper and more accurately as time goes on. I guess what I mean is ‘yes’, but this is only the tip of the iceberg…

Where are you heading on tour? Where can we catch you?

Peter: We’ve got a small four-day tour coming up at the beginning of June around Ontario with some buddies of ours from a band called Swim Team - we’re hitting up St. Catharines @ The Green Room on 2nd and Toronto @ The Painted Lady on 3rd.

If anyone reading is around and interested, stop by and give us a shout!

Might you come and play the U.K. this year? Do you get a chance to gig over here?

As much as we would absolutely love to, international gigging is really tough for us - all of us work full-time to support both ourselves and what we do with the band and even getting the time off is difficult, not to mention the money, permits etc. It’s 100% on the to-do list and we have a few touring grants in our sights to help us make it a reality but, unfortunately, it’s just not practical for us at the moment!

What do you hope to achieve in 2018?

Essentially, we’re just looking to do what we’ve been doing for the past year: writing tunes and sharing/playing them wherever we can, whenever we can and to whomever we can!

Dylan: I think, for us, 2018 is going to be a very slow and thought-out year of fine-tuning our sound and capabilities as musicians, with the general focus on releases we have planned as well as learning to achieve a more viable work-life balance with all of this. As stated previously, we are all working full-time in order to keep the R.M.R. train going and it is a blast - but some finer organization can only mean for cleaner work!

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

Peter: For me, that’s probably going to have to be music class in grade 12. I had music then a spare as my final two classes of the day in the final term of grade 12, which was absolutely awesome in the first place.

What made it even better, though, was that me and Gavin were actually the only two percussionists in the class; since most of the stuff we did in class was based around scales, we were sorta just allowed to head to the auditorium adjacent to the music room under the pretence of practicing rudiments and just noodle on all the random instruments in there.

So, yeah; I got to spend half of my final high-school term literally just goofing around on piano, drums; timpani, vibraphone and guitar. Definitely, the best semester I’ve ever had.

Jared: I spent two semesters working at Harvard Medical School in Boston and was fortunate enough to have seats to see the Handel and Haydn Society’s production of the St Matthew Passion by J.S. Bach. Bach’s my number-two composer of ‘Classical’ (or should I say ‘Baroque’?) music. I have no words to describe that performance…

Darren: I think my favourite moment playing music was being on stage in front of over 200 people for our first album-release show. That show was the most eye-opening moment of my music career because of the sheer fact that the people that were there were there for us. It is a feeling like no other.

If you could support any musician alive today, and choose your own rider, what would that entail?

Dylan: To be honest, I think you’ve got me personally on the ropes here. There are just too many brilliant artists that inspire and entertain me over and over again, ranging from local artists we already gig with to long-gone '50s Swing groups and straight-up Deathcore metal bands. Being able to get on stage and support any act using any gear is already a true treasure to me that I think I’d rather wait and see what could happen.

Jared: I hear The National puts on a pretty good party. Lots of keys in there that I could jump on pretty quickly. Also, anything Jonny Greenwood.

Gavin: Definitely J. Tillman, also known as Father John Misty. For starters, his music is awesome. But, even outside of that, I feel like hanging out with him would just be an experience-and-a-half as he always seems to have something interesting to say. That and the fact that any man with a beard like that knows how to party.

Darren: I would have to say John Mayer. John Mayer is one of the most talented guitarists of our lifetime and one of the most versatile musicians around. I would love to just be there with him to learn more than anything.

PHOTO CREDIT: Ryan Gaynor

What advice would you give to new artists coming through?

Peter: I suppose my advice would be to do what you want to do. If you want to make Billboard top-40-style hits because that’s the music you love, go for it. If you love ambient Polka and that’s what you wanna make, go for it. The farther you go into the music industry, the more you realize it is an industry and, as such, there’s a good argument to be made for creating music with a stronger popular appeal…but I think that, at the end of the day, if you don’t love the music that you’re creating it will show...

Dylan: …and knowing your audience, your sound and how to make your sound fit in well with other bands/acts of the same or similar genre. This is really important towards gaining a decent network fast. In our early stages, we found a small handful of bands that really sounded great next to our music and I think it really helped coax listeners in and definitely helped spread our name as well as the bands we have played with. Knowing your sound and who it caters to and being able to fit into that spot.

Jared: I believe it was Robin Pecknold of Fleet Foxes who says that the coolest thing about being a musician is that you get to pick your fans. I think everyone can appreciate that any particular piece of music will have universal appeal. So, don’t worry about that! If you build it, they will come!

IN THIS PHOTO: Long Range Hustle

Are there any new artists you recommend we check out?

Peter: There’s a lot of great talent in the Ontario region. I’d recommend High Waters from Ottawa for a more Radiohead-meets-Hey-Rosetta vibe; James Blonde from Niagara for a more Pop-Rock-oriented Muse sound; The Kents from Lindsey for a great Indie-Rock sound; Ellevator from Hamilton for a Synth-Rock/Pop vibe; Long Range Hustle for a more Folk-ier Indie-Rock sound - and Boniface from Winnipeg for some great Indie-Rock tunes. I could go on for hours, but I’ll leave it at that for now!

IN THIS PHOTO: Ellevator

Dylan: Hobo Johnson; Open Mike Eagle, Lewis Del Mar; Maps & Atlases

Jared: I’ll double-down on Long Range Hustle. I’ll also add Family of Things!

Gavin: I’d give a shout to Rival Consoles or Foreign Fields! They've been around for a while, but I've just recently started listening to them. Nick Hakim and Bill Ryder-Jones as well!

Darren: I would recommend a listen to one of the first groups we’ve ever played with: Birds of Bellwoods.

IN THIS PHOTO: Birds of Bellwoods

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

Dylan: Aside from my day-job, my life is surrounded by music. Constantly listening and adventuring deeper down the streaming rabbit hole. I really like to just unwind with good food, good music and good company.

Jared: We all are sporting jobs or at school, so hanging out together is usually centred around music. We’re still all greatly interested in what each other has to say about everything sound; so this isn’t a problem for us! As for on my own: I golf.

Gavin: To be honest, I’m pretty much doing something related to music every day. If I'm not playing music with one of the two bands I'm a part of, I'm recording or writing music. If I'm not recording or writing music, I'm probably playing some WoW or Rainbow Six Siege.

Darren: I would say that the best way to unwind for me is to sit out in my backyard and play the guitar for myself with a cold brew. Honestly; music is my way of relaxing. It’s why I love it so much.

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).

Peter: Mercy - Plants and Animals

Dylan: Honeybody - Kishi Bashi

Jared: Bollywood - Patrick Watson

Gavin: Doomed - Moses Sumney

Darren: Bon Iver - 715 - CR∑∑KS

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Follow Run Maggie Run

Official:

https://www.rmrband.com/

Facebook:

https://www.facebook.com/RunMaggieRunband/

Twitter:

https://twitter.com/RunMaggieRunOFF

Instagram:

https://www.instagram.com/runmaggierun/

Spotify:

https://open.spotify.com/artist/4opc5QdmR2Fh3jg42z4pyA?si=TB7Z38gNS8WWVCsTObTalg

SoundCloud:

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YouTube:

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INTERVIEW: Birds of Chicago

INTERVIEW:

 Birds of Chicago

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IT has been a pleasure speaking with Birds of Chicago…

PHOTO CREDIT: Yve Assad Photography

as they tell me about the new album, Love in Wartime. I learn about the album’s themes and where they head next; how they got together and the importance of Chicago to their music and passion – they reveal whether music, in these tough times, is a catharsis.

I ask whether certain decades and periods have inspired their music; what tour dates are approaching; if there is a new artist we should look out for; whether they get the time to breathe away from music – Birds of Chicago talk about playing in the U.K.

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

This week has been nuttier than some, from a travel perspective. We finished a five-week run in Europe with a concert in Shetland, Scotland…then back to London and then on to D.C. One day off (today) to catch up on emails and laundry and then headfirst into North American fest. season with Del Fest and Nowhere Else festival.

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

We’re Birds of Chicago. We’re a collective of about seven musicians. We ebb and flow as far as who’s on the road - but the constants are Alli Russell and JT Nero… 

Love in Wartime is your new album. Can you talk about the themes and inspirations that go into it, thematically?

For me, the mandate for music, and art in general, is to allow you to wrestle with the bleakest, most terrifying or otherwise completely shit*y aspects of being alive on this planet in a way that somehow feels joyful. That’s all Rock and Roll has ever been to me, but that’s everything…

Obviously, Chicago plays a big role in your name – ‘Birds of Chicago’ – but was it vital when it came to the tones and subjects of the album? How compelling was it as a backdrop?

When we chose the name in 2013, I felt it was important to represent Chicago in that fundamental way, because Chicago’s energy - its swirling mass of energies, I should say - has always informed our sound and our poetry in a massive way.

Allison and JT. How did you meet one another? Was there an instant musical connection when you met?  

We met through mutual musical pals. The musical connection was instant and powerful; so powerful that we spent an absurd year or so trying to pretend that there wasn’t anything else between us. We were both scared of messing up the musical bond that was there.

I hear elements of the 1970s and other decades; there is a mix of sounds and sensations. Who do you rank as the most important musicians in terms of your own sounds?

There is no doubt we were channelling some '60s and '70s concept album energy with this record but, at the same time, I can’t think of an album that was a specific touchstone…more a fondness for the ambition to create something with some real peaks and valleys in its scope - and a confidence to bring a wide sonic palette to bear and still imprint our identity upon it. That is something I associate with so many iconic records of that time frame; whether it was The Band, Marvin Gaye, Paul Simon; Joni Mitchell and Sly Stone…

In terms of, politically, what is happening in the U.S. and the state of the world in general; is music both a catharsis and a way of translating frustrations into something productive? Is music a way of rationalising what we are all going through? 

It has and has always been. However rough we think it is now, it’s been a lot rougher - and music has always been that forum that allows one the miracle chance to hold up the bleakest aspects of human existence, right alongside the most fantastic joys and treat them both with something bordering on ecstasy. 

PHOTO CREDIT: Yve Assad Photography 

Can we see you tour this year? What gigs do you have coming along? 

It will be hard to avoid us! We’ll be touring all-year-long. All over North America and Europe.

I do believe you are stopping off in the U.K. Have you played here before? What do you think of the music here?

Birds of Chicago have played the U.K. several times. We like it very much. The U.K. Americana scene is particularly strong right now. At last year’s Americana conference, the U.K. artists really showed out. Yola Carter, for instance, came in and shut the whole thing down every time she opened her mouth. Exciting times.

What do you hope to achieve in 2018? 

I would like to diversify my portfolio, financially. I am considering moving three or four-hundred dollars from my checking to something financial advisers call a ‘savings account’. I’d like to play a ton of shows in many ports of call and write a bunch of songs. We keep it simple around here

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

We sang Paradise with John Prine for the finale of the Ann Arbor Folk Fest this year. Nothing tops that.

What advice would you give to new artists coming through?

 If you are considering getting a gold front tooth now that you have a little money coming in, probably don’t do that. If you are writing a song that has a little bit of an Island groove; avoid consciously or sub-consciously singing in a fake patois. 

If you feature harmony singing in your sound, try to avoid using the adjective ‘stunning’ in your bio when you describe your harmonies. That’s about all I’ve got…

IN THIS PHOTO: Raina Rose

Are there any new artists you recommend we check out?

Raina Rose. A formidable poet, witch and truth singer. Full disclosure: I am producing her next record!

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

We aren’t ever away from music but, when we are away from touring, I have been doing some production work with my partner, Steve Dawson. Alli has been training in mixed martial arts. She has always been interested in ancient forms of fighting, but she’s specifically focused now on developing the most efficient, brutal combination of many of the old disciplines.

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).  

Stella seed - Sean Hayes (from the album Run Wolves Run)

Anaïs Mitchell - Dyin Day (from Young Man in America)

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Follow Birds of Chicago

PHOTO CREDIT: Yve Assad Photography 

Facebook:

https://www.facebook.com/BirdsofChicago.Official/

Twitter:

https://twitter.com/jtandalli

Instagram:

https://www.instagram.com/birdsofchicago/

Spotify:

https://open.spotify.com/artist/2nyv8yYjMSkvUr9OwEQhVf

Bandcamp:

https://birdsofchicago.bandcamp.com/

SoundCloud:

https://soundcloud.com/birdsofchicago

FEATURE: The June Playlist: Vol. 1: IDLES, Saints and a Street Fighter Named Mas

FEATURE:

 

The June Playlist

 IN THIS PHOTO: IDLES/PHOTO CREDIT: Lindsay Melbourne/DIY 

Vol. 1: IDLES, Saints and a Street Fighter Named Mas

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TO kick off June…

IN THIS PHOTO: All Saints

we have been treated to some incredible new songs! Not only is there a terrific track from All Saints out there; IDLES and Kamasi Washington have unveiled stunning work for us to get our weekend teeth into – surely enough ammunition for those who love their music varied and pure!

Alongside them are cuts from Tom Tripp, LUMP; Lily Allen, Gorillaz; Kanye West and Underworld (with Iggy Pop) – and a lot of other big names rubbing shoulders in a very exciting and hot week for music!

ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images/Press

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PHOTO CREDIT: Lindsay Melbourne

IDLES – Colossus

Kamasi Washington – Street Fighter Mas

LUMP – May I Be the Light

The 1975 – Give Yourself a Try

All Saints – Love Lasts Forever

Bipolar Sunshine – Discovery

Catherine McGrath (ft. Hunter Hayes) – Don’t Let Me Forget

Drake – I’m Upset

Gorillaz (ft. George Benson) – Humility

Haley Reinhart – Last Kiss Goodbye

Johnny Marr – Walk Into the Sea

Kadhja Bonet – Another Time Lover

J Hus – Dark Vader

Lady Leshurr – Black Panther

Lily Allen – Lost My Mind

Kanye West – All Mine

St. Vincent – Fast Slow Disco

Tom Tripp – Medusa

Mallrat – Groceries

Hayley Kiyoko (ft. Kehlani) - What I Need

 

Ben Howard – The Defeat

Rex Orange County, Randy Newman – You’ve Got a Friend in Me

The Internet – Come Over

Natalie Prass – The Fire

PHOTO CREDIT: Nick Dorey

Lykke Li – two nights

Weezer – Africa

Father John Misty – Please Don’t Die

AKA - Beyonce

Benjamin Francis Leftwich – I Am with You

Charli XCX – 5 in the Morning

Spring King – Us Vs Them

Leon Bridges – Beyond

PHOTO CREDIT: Hollie Fernando

Gengahr - I'll Be Waiting

Beth Orton, The Chemical Brothers – I Never Asked to Be Your Mountain

Underworld, Iggy Pop – Bells & Circles

PHOTO CREDIT: Cal

Wolf Alice - Space & Time

Goat Girl - Viper Fish

Ne-Yo – SUMMERTIME